This is what I bring to music in film:
As a film music composer, I focus on the particular project and keep in mind the general audience who will be viewing it. For me, it is important that the music score is grounded and connected–married to each scene in the film. It should supplement, support, be a voice when there isn’t any, and shouldn’t overpower. I create original memorable themes and motifs, memorable music that is “relate-able” for general audiences.
Can I “go quantum, like Ant Man, Scott Lang” wizzing around my own “mindpalace like Sherlock Holmes” getting lost in the “flow-state like Mihaly Csikszentmihalyi” while creating and discovering new ways to blow the minds of my musical peers? Yeah. Sure. But, I understand my purpose as a film composer, and that’s not it. My purpose is about creating another tether that connects the story to the audience making each piece as memorable and impactful as possible.
Did you know? Only 3% of film composers are women.
I’m proud to say I’ve been a part of that 3% since 1998, when I was hired to write two songs for an hour long public service announcements [PSA] that aired on FOX-TV New England in 1999. I also wrote the video scripts, so 1998 also technically marks the official production of my first scripts.
In 2004, I was hired to score a sci-fi short film about a psychic who spoke to the dead and her newspaper columnist neighbor, who for years would rush over the house take the first-word account of the dead by way of this psychic medium. I used a lot of sound-scaping, sound effects, but, because each of the otherworldly accounts were a carousel of monologues, I decided to write a mini-piano concerto which underplays each one.
Over the years I’ve become somewhat of a mad scientist, and a true multi-disciplinary–multi-specialist– and multifaceted artist. However I am not alone or unique in this regard.
There are/were other “multis” like me in the film industry, with varying backgrounds of experience, education, and training: Clint Eastwood, J.J. Abrams, Charlie Chaplin, David Lynch, John Carpenter, Mel Brooks, and Barbara Streisand, to name a few. Each listed has directed, written, composed, and acted in films– sometimes having worn many hats on the same project. I’m similar in temperament, but it is important to note: I truly enjoy collaborating. Even though my creative professions vary and overlap, once my key role is determined on a project–I stay in my lane–unless hired to change lanes for my creative input consultation. I am open to contributing more than a score, but not unless I’m asked or hired to do so.
Billy Joel said it best, “You can’t hear the sound from a story [in a magazine]”, so, have a listen to my work.
All music work here is 100% original, composed, written, in most cases performed and produced by me.