Monday, October 29, 2007

Middle Eastern Trailer Music

This summer I wrote a score on spec for a trailer to the film "David And Fatima" and thought it turned out pretty well.

Sunday, September 30, 2007

Meeting Mychael Danna In The Men's Room

So, the last few weeks, I've gone to the AMPAS film composer conference. It's been very interesting hearing master composers discuss their lives and craft. Lalo Schiffrin, Bruce Broughton, Jan A. P. Kaczmarek and more. One of my favorite film composers was one of the panelists: Mychael Danna. And of course, I passed him in the men's room afterwards and I just HAD to say something. Yep. In the men's room. So smooth. My brain said "Never talk to someone in the rest room," but I just went right into auto-pilot. He was very gracious and friendly though.

Saturday, June 23, 2007

Dead Trees (2008)

Dead Trees is psychological thriller meets romantic drama. It deals with obsession, fantasy and living inside memories. The music is a mixture of mysterious Hitchcock-like moods, light romantic melodies and pulsing ambient soundscapes.


The main title "2400 Winword Ave" has a hint of film noir and showcases the main theme in a dark minor mode (also heard in "Romance in the Horror Section"). This theme also makes appearances in a warm, cheerful major mode early in the film ("Jogging and Donuts"). As the obsession grows the theme flirts with modal ambiguity ("Flowershop Vision," the last part of "Nurse Lindsey")

I created a very simple love theme for "Daniel and Lindsey" that can be heard in cues such as "Do You Love Me?," "Nurse Lindsey...," and "Break-Up and Hook Up."

There is a reoccuring rhythmic motive for flashbacks ("Lindsey Suspects") and a quirky theme for Daniel's high school memories ("Back To School," "Chickensh*t"). I utilized ambient textures to add to the dream-like quality of Daniel's obsessions ("Zone Out" and "Waking Up").

The object of Daniel's obsession, Becky, also has an exotic theme ("Thai Becky," "Lindsey Suspects," "Chickensh*t")

The final cue, "Becky's Revelation," features most of the major themes.

The Mailbox (2006)


I composed the score for Huy Chheng's short film about Chinese immigrants in the Fall of 2006. My first instict was to do a very ambient score with hints of Chinese instruments. Huy however wanted something melodic and piano-driven. So, I combined those two ideas and created a work that I was very proud of when I finished. The ba-wu, a Chinese flute with a copper-reed, lends a very gentle but sad effect to the music.

If the player is not working use this link The Mailbox Player

Saturday, June 16, 2007

Film Composing

So, this is my first foray into the world of blogging - but, don't worry, I'm not going to start talking about celebrities or creating a travelogue.

I wanted to have a place to compile my thoughts, keep track of my creative output and post some music. I'm a fairly young composer and certainly still green to the film scoring world. When writing film music, I am always hoping to compose something beautiful and creative that graciously enhances the film without distracting. Its an interesting, and at times difficult, line to walk between unique, memorable music and supportive soundscape.

I've found that directors are very interesting people to work with: they've got such an understanding on what they want from the actors, from the DP, from the sound engineer, but some have trouble with communicating what they want from their composer. They know the mood they want to get across or the subtext they want to illuminate, but many directors are not musicians so its hard for them to find a language to discuss the details of what they want from a score. I think it can be frustrating for them. Its exciting then to, as the composer, find the unique verbal tools to communicate with these great artists and pin down what they are looking for and sometimes find musical ideas they hadn't even known existed. It's a great collaboration.

I thought I'd post some various cues of things I've worked on in the past.

"El Curandero" is a short supernatural thriller/horror and was one of the first films I worked on. I used ethnic instruments and vocals to enhance the orchestra sound.

"Twin Daggers" was a martial arts film I ultimately did not score. I created four rough sketches for the post-production team before they ended up leaving the project (and leaving me without a film to score).

"Dumblings" is a dark comedy short. The main theme is an off-kilter waltz. Slashing cellos mirror the shorts murderous conclusion.

"Stupid Heroes" is a children's comedy/fantasy that allowed me to write some silly superhero pastiche music. I included the cue "Breaking In."

The other cues are miscellaneous pieces that never found a home.


If the player is not working use these links
Various Cues Player
El Curandero Player
Twin Daggers Player