Film Composer | Guitarist

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

A: My best advice to creatives looking for a collaborator is to find someone that sees your vision, and has a passion for helping you get there. You'll be in the trenches together, so team up with someone who is reliable and fun to be around! Also, communication is key. If a piece of music isn't working, the best thing to do is be honest and blunt. A good composer will happily try something in a different direction.

Q: What was your career path? How long have you been doing this?

A: I picked up the guitar when I was 14, and it changed my life. Through high school, I played in rock bands and started writing and recording my own songs. I had the good fortune of meeting Norma Tanega - a folk singer from the 1960's - who became my teacher, mentor, and bandmate. After studying music in college, I worked as a sound engineer by day, and wrote, recorded, and performed in bands by night. After working on my first 48-Hour Film Project, I got the bug to score films. I began studying film music and cut my teeth re-scoring my favorite scenes. After completing the Screen Scoring program at USC, I began working as an additional music writer on a TV show and scoring independent films and video games. I also started offering remote guitar recording sessions for composers. I built the home studio that I work out of now, where I work full-time as a composer and guitarist.

Q: What's your typical work process?

A: First, I like to talk with the director about the film, their inspiration, and their vision. I like to begin the conversation about music as early as possible, even as early as pre-production if possible. Once I have an idea of the musical direction, I like to make 2-5 short demos away from the picture. I present these demos to the director and we discuss the sounds and if I'm headed in the right direction. Once the film is locked, and I receive a work print, we'll sit down and spot the film. We'll watch the film together from start to finish and make notes of exactly where music should be and what it should add to the scene. Then I start composing each cue, based on the sounds and music from my initial demos. The director gives feedback and notes for each cue, and I'll make revisions if necessary. Once every cue is approved, I will deliver the score in time-stamped stems to the sound mixer.