The inspiration for my compositions can come from a great conversation with the filmmaker, the film itself or a certain scene. I like to be as open as possible in the beginning.
I’m a very visual person, so the look of a film, how it’s filmed, the angles, and the colour, all play a part in how it sounds.
Who or what inspired you to take up composing, and pursue a career in music? My dad and mom, David and Regina. They ran a
Music written for motion picture should serve the image, and not the other way around. The question is therefore how to compose music of substance, without losing your signature style.
When I recorded the score for The Windermere Children recently, about children who had survived the Holocaust, I spent a lot of time in the session explaining to the performers what each piece was about, what was happening in the scene, and it made such an incredible difference to the emotion of the score.
One special challenge of film music is understanding that each score is completely different from another. Every director will have a different point of view of what they want, so the process of figuring out what is it that they need will always be different. Filmmakers very rarely speak in musical terms. They communicate with feelings and emotions, so it is my job to figure out how to put those emotions into musical sounds to meet their vision.