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AVA

Ava, a sleek new, spy thriller stars Jessica Chastain, John Malkovich, Colin Farrell, Common, Joan Chen, and Geena Davis. The film, a Voltage picture, directed by Tate Taylor, hit VOD this fall. Jessica Chastain plays the title character, a remorseless assassin, who must wrestle with her own demons, and struggle with relationships she has wrecked or abandoned. The film is an ambitious combination of character study and assassin intrigue.

As a kid I immersed myself in orchestral film scores growing up, background that served me well for the last Voltage Picture I scored, The Professor and the Madman. That score’s Romantic chamber orchestra flourishes represent the total polar opposite of the musical needs of this film. Fortunately as a kid growing up in the 1990’s I also adored electronic music maturing in that era. Depeche Mode, Trent Reznor, Nine Inch Nails, and Marilyn Manson had a huge impact on my young brain and popular culture, as did the scores of composers such as Brad Fiedel (Terminator, Terminator 2, True Lies), Éric Serra (La Femme Nikita, The Fifth Element), the Dust Brothers (Fight Club), and Tom Tykwer, Johnny Klimek, and Reinhold Heil (Run Lola Run). I had always wanted to try my hand at a score written in the style pioneered by these artists. So, I was grateful to join Ava’s incredible creative team and be given the chance to compose a searing, predominantly electronic score for a spy thriller.

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When I was a kid, Star Wars was one of my essential gateways into fiction, into visual storytelling, into film, and into music. I grew up so immersed in the Star Wars universe that I might have spent more time there in my imagination than I did living in the real world!

At age seven, I designed and built LEGO versions of dozens of vehicles, spanning my entire basement floor. I also constructed a Millennium Falcon out of paper plates and VHS cassette boxes (resulting in a model that has survived over thirty years in the closet at my mom’s house). At eight, I stitched together brown strips of fabric and scrap metal to create a Tusken Raider halloween costume. I also hand-wrote my own novelizations of each film, meticulously describing every edit and line of dialog, filling three spiral notebooks, hundreds of pages pressed with of thousands of scribbled lines. At nine, I made a word-search of alien words and names from the books and films that covered twenty pages of graph paper taped together. At ten, I transcribed for piano nearly every cue John Williams wrote for the entire saga, memorizing hours-long piano performances of the scores. I carried this passion with me into my young adulthood, where I waited in line for hours outside Mann’s Chinese Theater in Los Angeles, with my newfound college friends, to have our minds collectively blown by The Phantom Menace on the big screen.

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