I started composing when I was young enough that I can’t honestly remember. I’ve always been drawn to dramatic music; the kind of music that invokes a feeling of invincibility. It’s a big part of what drew me to film scoring. I get to take a moment already powerful and add depth with music. It’s a joy and an honor.
REALiTY was my chance to go big. With a giant alien spaceship, lasers, secret agents, holograms, and a beautiful location, it was my first project where I was able to create a score that earned the adjective epic. It features Nick Cook on the french horn and Sami Louguit on the violin.
One Door Over
One Door Over has always had a special place in my heart. It was the project that started Second World, Matthew Miller is my favorite character to play and to write, and The Berkshire Theme will always be special to everyone who worked on this production. The score is as peaceful as the campus.
The Sunrise House Season 1
The Sunrise House Season 1 score is one of the weirder scores I’ve written for anything. I tried to use strange instruments and chased a less standard process. It definitely sounds nothing like my other works. I can’t wait to score the second season.
The Empire Fallen score happens to hold what I consider to be my best piece ever written. All Is Said, All Is Done led to the creation of a musical technique I call a Dream Wave, and it quickly became my “sound,” so to speak. At least to me.
BELiEVE is where it all starts. The first film in the Second World Cinematic Universe, the BELiEVE score was a chance for me to set the tone of the music in the SWCU. It’s the archetype.