Can you remember the first time a film score made a big impact on you? 

I was rewatching The Land Before Time – I must have been three at the time – and I had resolved no matter what to not get scared at the part where the Sharptooth isolates Littlefoot and Cera in the swamp. Despite my careful preparation, something I hadn’t accounted for had me quaking and jumping bolt upright off the couch, clutching my blankie in fear: the music was just plain freaky! 

How would you describe your style of composition in three words?

Classic, Contemporary, Catchy

Thank you for that alliterative opportunity! My current approach boils down to being a great fan of the classics, while realizing that we need to make an impression on today’s audiences. And I will try my darndest to come up with something catchy, which I believe helps the film leave a lasting impression.

How do you balance your own musical voice with the director’s vision for the film?

First of all it’s all about supporting the director’s vision but I don’t see it as either/or: 

You are being hired to use your musical abilities to support the film. Therefore bring all your expertise to bear, which includes your instincts, voice and experience. If you get to stretch outside of your comfort zone, so much the better.

Do you write to picture immediately, or do you compose thematic material before seeing the edit?

I don’t think there is a wrong way. Mostly it is up to when the director feels it is best to bring me on board. The risk in starting earlier than a rough cut is composing music that won’t work once the edit really starts to come together. But even in that scenario, I’ve found the scrapped material has held the germ of the new score.

What non-musical sources (literature, art, nature, etc.) inspire your compositions? 

Great question. It’s definitely on my bucket list to be inspired by poetry! Like Debussy.

In film music I find these questions are already determined to lesser or greater degree. Often the director will suggest influences. If not, I tend to turn to film itself for inspiration. Some combination of the subject matter, the setting, the photography and performances will suggest a composer or band or style of music to me.

What are your top three film scores and why?

John Williams’s Empire Strikes Back and Prisoner of Azkaban top my list for how impressive I find their range of material and ingenuity.

The sheer volume of new themes in Empire Strikes Back astounds me, and the writing is technically impressive, but you don’t need to know a thing about music to feel the excitement. The eleven-minute Hoth battle cue is so busy and inventive, and how exhilarating is the Asteroid Field?

Prisoner of Azkaban is a great example of the influence a director can have, as I suspect series newcomer Alfonso Cuaron’s new take on the Harry Potter franchise was instrumental in leading Williams to create one of his most diverse scores. There are madrigals, jazz numbers, a classical waltz set-piece, modern chorale work – you name it, it’s in that score! And it works together to form this amazing tapestry for the world of the film.

As for my third choice, I will let you know as soon as I have made up my mind!