Q: What got you interesting in doing film music compositions?

A: I’ve had a love for music all my life. I still remember hearing the soundtrack to E.T. and realizing that this was something I wanted to create someday. I spend many years playing in bands, however it seemed that I was constantly being told that my music seemed much more like a score to a movie. I knew at that point it was time to change gears and head towards film.

Q: Over the years you’ve worked on a variety of projects from The Game Plan web series, to horror projects like Guardian, and bizarre surreal pieces like Elysium. What projects do you like working on best?

A: What a hard question! (laughs) Every project has its elements of enjoyment. I would say I really like movies that require me to dig deep into the psyche of the movie and characters. I think any composer likes a bit of a challenge.

Q: What are the differences working with directors Brandon Young and Danny Chadwick?

A: Brandon is a full visionary. He sees the project from the beginning to the end. This makes for defined ideas when we talk about the score to a film. Danny relies on the pure talent of each person. These directing styles are find for me as I’m good at taking direction and good at leading.

Q: Working with Brandon on all of his Solar Shock projects, are you ever surprised with his music choices?

A: Sometimes. My position as far as I’m concerned is to emulate the director’s vision.

Q: You’ve started working with Danny Chadwick, whose projects are quite diverse in tone and style. Is working with him like throwing a wrench into your creative style that you’ve been accustomed to over the years?

A: As I’d mention before, I think any composer likes a bit of a challenge. This is always going to happen with a new director.

Q: What has been the most complicated score to write and why?

A: The closing sequence of Elysium. There is a lot of emotion that’s taking place in this scene. It was critical that the music followed every second and every shot.

Q: What about the funnest score to write?

A: Oh, the Clown singing in the park during Elysium! I’d never really had lyrics to any of my musical scores, so coming up with what a drunk clown would sing about was a lot of fun.

Q: When you’re scoring, what do the director’s do to help in the process? Is it all discussion based or do they offer any examples of what they’re looking for? And does that help you at all?

A: This really comes down to how clear the director is on the scene. I’ve had anything from free reign over the project to specific examples of music from other scores.

Q: When you start working on projects, what is something you look for in the film to base the score around?

A: I look for the emotional connection that the film is trying to get with the audience. I then do what I can to enhance that scene with music.

Q: When you first worked on the score for The Letter which was directed by Brandon, and Cold Feet by Danny, what were your fears going into those projects working with those directors for the first time?

A: I don’t know if I really had any fears to speak of. I was working with friends that were all rather “green” to their craft. I guess I had the fear that most composers would have. ‘Will the like my work’?

Q: Elysium and Game Plan are scores that are somewhat similar when it comes to using musical themes for characters and events. Do you like working thematically or do you write for story only?

A: I really like writing for the story only. I don’t ever want to be known as a musician with the ability to only write for one genre.

Q: When a project is in pre-production, are you thinking about music then or do you wait until you have a cut available? Do you draw from any influences during the production process?

A: It really depends on how much I’ve been told about the film before hand. I usually will get down some basic ideas as soon as i hear about the project. However, i find it’s a lot easier for me to write when I have some sort of rough draft in front of me.

Q: You’ve done a lot of work in the haunted house business. Have you applied what you’ve learned in that industry to your scores?

A: Every experience in my life will build upon my views of the next day. I know that the haunted house attraction industry had given me a better emotional understanding of fear, anxiety, suspense and chilling moments! I always love a show where I can incorporate these elements.

Q: When Solar Shock Pictures was formed back in 2004, did you ever think that you would be here now, about six years later and seventeen film scores under your belt?

A: I honestly did. the members that I’ve been working with are extremely talented. We work well together and I see many more wonderful shows to score coming my way.