A love of film scoring lives deeply in my consciousness.
My earliest recollection of the marriage between music and moving images was as a child watching classic Looney Tunes, sneaking late night Twilight Zone episodes, and a little later, Jaws, Halloween, The Godfather, Chinatown, Planet of the Apes, and Taxi Driver. It was further on into my teens and early twenties that I would begin to decipher and understand the impact and styles of the various composers whose imaginations through sound would drape the background of some of the most important and most watched films of our time. Carlos, Goldsmith, Herrmann, Morricone, Stalling, Takemitsu, and Williams were code words for a strange alchemy of imagination and magic. Contemporary film composers have provided no less inspiration, leaving further marks upon me - from the blockbuster scores of Danny Elfman, Mark Mothersbaugh, Howard Shore, and Hans Zimmer, to the quieter yet equally impactful corners of the art form: Angelo Badalamenti, Jon Brion, Francois Du Roubaix, Evan Lurie, and John Zorn. The watermark is high, but it is my hope to achieve the ever sought-after confluence between picture and sound in my work, and to compliment and add to images, in motion or in stillness.
When composing scores for film, television and games, whenever it is pragmatically possible I try to use acoustic/electric analog instruments – either exclusively, or alongside more typical contemporary film composer tools. My collection of vintage keyboards, odd instruments, esoteric effects, and modular synths frequently make for unique starting points or add-ons to more familiar film score sounds. Whichever way a project goes, when I become involved in a project to compose bespoke music, it is always my goal to create an end result that is honest, well-crafted, and emotionally resonant.