Film Composer / Producer

Q: Tell us about a project you worked on you are especially proud of and why. What was your role?

A: I did the soundtrack for a short called The Hereafter. It's still in the festival circuit, but I think it's my best work to date. I used a full orchestra along with the harmonium to create a somber soundtrack that explores a father/daughter relationship and facing death when you know it's coming. They're still in the process of finding possible distribution, so unfortunately, I can't share too much more.

Q: What are you working on at the moment?

A: I can't really talk too much about it at the moment, but I think it would align with the OG seasons of Black Mirror. Very dark, disturbing, yet casual at the same time. I've been experimenting with using synths to create the sound of danger- the sound of a predator.

Q: What type of music do you usually work on?

A: I do a lot of dark, dramatic music. I love creating disturbing soundscapes, mixed with beautiful strings. Think Midsommar, Hereditary, The Lighthouse. I also love writing nostalgic/beautiful music.

Q: Tell us about your studio setup.

A: I have too many orchestral VSTs to count, a Prophet Rev 2, a Korg Minilogue, a viola, cello, many guitars, and my beloved upright piano.

Q: What other musicians or music production professionals inspire you?

A: I love the work of Hans Zimmer, Bobby Krilc, Hildur Guðnadóttir, Ólafur Arnalds, and Trent Reznor and Atticus Ross. I also love The Neighbourhood, The 1975, 070 Shake, and James Blake

Q: Describe the most common type of work you do for your clients.

A: Most of the work I've done so far has been for dramatic short films. Some of them with dark humor akin to Black Mirror.

Q: What advice do you have for a customer looking to hire a provider like you?

A: It helps a lot if you have some sort of abstract idea of what you want. You don't need to know anything about music to direct it. Just saying "I want it sad here, and here I want a touch of bittersweet." works for me.

Q: What's your strongest skill?

A: I'm definitely better at composing synth/string driven tracks. Although I'm not afraid of woodwinds or brass. But I've been composing with strings for over ten years. And I play violin, viola, and cello so I'm very comfortable composing for them.

Q: What's your typical work process?

A: Well if it's early enough in the production, I like to read through the script to get a sense of the tone of the film. Then I like to compose a few samples of themes for certain characters or moments for the director to listen to before production even starts. Generally after I'm sent the picture locked edit, I'll compose a draft, send it over, then I like to discuss it in person/via Skype and go through each moment until the director is satisfied. That last part is my favorite. There's nothing like watching that smile of satisfaction when the music cues hit just right.