There’s no doubt that Suspiria, Guadagnino’s remake of a classic, will be the first film I’m going to watch in 2019 (yes, American friends, the film isn’t out on this side of the pond yet).Read More
The biggest challenge of the industry we’re in is communication.Read More
If you are a film composer I’m sure you use sample libraries in your daily work.
There is a tendency in contemporary sampling techniques which I love and that is the fact that sample developers started a while ago not only to leave in the samples noises, imperfections, small tuning issues but even to add them in the recordings to infuse more realism and intimacy.Read More
Years ago I read a wonderful interview with the great Elmer Bernstein.
When asked about his writing process, he said that when he was given a film to score, he would spend a lot of time just watching the film with no prejudice. He tried not to think about the music at all. No thoughts about themes, harmonies or orchestration.Read More
The traditional symphonic orchestra offers a world of possibilities and film composers have stretched its capabilities since the very beginning of cinema. The jolting string “stabs” in the shower scene of Psycho were so characteristic that they have almost become a parody and there are countless other examples.Read More
A couple of weeks ago I attended an incredible masterclass with great jazz musician and film composer Terence Blanchard.Read More
Let’s keep going from where we left off last week.Read More
Should I write music for libraries?
At the very beginning of my film scoring journey I asked myself this question a lot and occasionally I still do.Read More
October, the perfect month to talk about horror music.Read More
The power we have as film composers is unbelievable. We can manipulate the viewer and change the meaning of a scene with just a few notes.Read More
Every time I start working on a new film there are a couple of things that can happen…Read More
As a composer, I reject the idea of “branding” and I see several “colleagues” doing the same. However..Read More
Writing Christmas music means you can use a boatload of sleigh bells on pretty much anything, including a techno beat.Read More
Finally, Salome Voegelin starts the first chapter of her book “Listening to Noise and Silence: towards a philosophy of sound art” defining ”listening” not “as a physiological fact but as an act of engaging with the world”. The very moment I read that, I started thinking about the soundscape we’re immersed in every day in a different light.Read More
The first and third cornerstones are the easy ones: you can work on them and get better at your craft with experience.
Knowing what you want to say though, that's a whole different story and it’s a double-edged sword in the world of music for media.Read More
Last year I bought a book that has changed my creative life in many different ways.
That book is Sylvia Massy “Recording Unhinged: Creative Unconventional Music Recording Techniques”.Read More