STARTING OUT IN THE EVENING
This is a beautiful film by Andrew Wagner, featuring a command performance by Frank Langella as an aging writer whose life is shaken by a graduate student (Lauren Ambrose) doing her thesis about him. The challenge of this score was to capture the emotional intensity of a man who has gotten used to guarding his emotions very closely.
THE DEAD GIRL
Karen Moncrieff's haunting second film about how the murder of a young woman reverberates in the lives of five other women who are connected to her in different ways. I'm very proud of this subdued, eclectic score; each section has it's own unique texture with a simple theme that hopefully unifies the whole.
WAITING
"The Brain.....oh oh the Brain!!!" What can I say? If you've ever worked in a restaurant, or just ever been in your early twenties....you should be able to relate. I still feel like I'm 15 so I was all over the Rob McKittrick "aesthetic" from the first rough cut I saw. The score is a modern comedic potpourri, as befitting this cult favorite.
THE KEEPING HOURS
This is a beautiful little ghost story. It features fantastic performances by Lee Pace and Carrie Coon. For the score I tried to capture the deep sadness of a broken family and infuse it with the otherworldliness of the strange experiences that befall them.
95 MILES TO GO
What a blast I had working on this film, which documents a road trip by standup comedian Ray Romano, his old friend and fellow standup Tom Caltabiano. Obviously it's hilarious, but it also contains some real poignant moments, as you glimpse into the psyche of a great comedian and see the dynamics of fame and friendship at work. Tom loves jazz, and Ray is a classic rock guy, and the score contains a little of both, and features great playing by some of LA's finest musicians.
SAVING SHILOH
I've had the good fortune to have scored several of Sandy Tung's films and I always enjoy working with him. His Shiloh films are really great and I very much enjoyed creating this traditional orchestral score (with some rootsy Americana colors thrown into the brew.)
EASY SIX
Sometimes you get to work on a small independent film that offers an opportunity to stretch out and experiment. This is one of my favorite scores I've done....an amalgam of lots of different kinds of colors. Soprano sax, banjo, latin percussion. I don't know what to call the music exactly, but I like it a lot.
THE GIRL IN THE BATHTUB
Everyone should have a Lifetime movie in their catalog, right? I had so much fun scoring this because I got to do the kind of music I don't get to do much; the score is mostly electronic as befitting the story of a drug-addicted party girl who dies mysteriously. Check it out!
BLUE CAR
This was Karen Moncrieff's debut film, and although we did it in under two weeks start to finish, it came out really well. Karen is very particular that the score in her films not feel like "score." So the trick is to create evocative music that functions as film music but doesn't attract attention to itself.
BREAKABLE YOU
This powerful film asks the question: how much are we willing to sacrifice to achieve success, and what happens when we sacrifice too much. A virtuoso cast: Tony Shaloub, Holly Hunter, Alfred Molina, Cristin Milioti and Omar Medwally.
I KNEW IT WAS YOU
This HBO doc is Richard Sheppard's tribute to the great actor John Cazale. More about Cazale's devotion to his craft and the great esteem in which he is held by his peers (Pacino, De Niro, Hackman, Streep etc.), than a biopic, it was an honor to be able to contribute to this great piece. And I got to score Meryl Streep talking about the great love affair of her life!!!
IN THE SHADOWS
Some of my favorite electronically centered music I've done is in this score. I worked in some layered female vocals as a color to express the inner spirit of a hit man who wants out of the business.
TREACHEROUS
One of the first scores I did after I moved to LA and trying to get gigs. This was pre Pro Tools, and right around when sampling was starting to really come to the fore. I think the score still sounds great. I remember I didn't have the budget to mix in a studio with automation so my trusted engineer Ted Blaisdell and I spread out over the console like we were playing Twister trying to make all the moves to get the mixes just right.
ORCHESTRAL JUKEBOX
Various orchestral music from various projects
RANDOM JUKEBOX
A mystery assortment.