Stephen Higgins & Nina Seavey’s acclaimed feature doc, “The Matador” premiered at the SXSW film festival to strong reviews. My score, for symphony orchestra and chamber ensemble also got notice, with the NY Times’ Jeanette Catsoulis calling it “uncommonly stirring” and the Jaman Lounge declaring it “absolutely haunting, powerful, graceful, majestic.” In 2011 the score garnered an Emmy nomination.
“El Rabia del Toro,” a cue from my “Matador” score
Oscar winning actress and director Lee Grant created “Once Upon a Time in Hollywood,” a feature doc about the lives and careers of Kirk and Michael Douglas for HBO. My score, for chamber orchestra augmented with mandolin and accordion, shows the influence of American pop music of the 1940s and Italian film music from the ’50s and ’60s.
Theme music from “Once Upon a Time in Hollywood”:
“The Last Flight of Petr Ginz” is Sandra Dickson & Churhill Roberts animated feature doc about an extraordinarily gifted boy whose recently discovered diary, begun when he was 12, documented the effect of the Nazi occupation of Prague on Jewish life. The film combines animation and narration based upon Petr’s writing and artwork. My score uses 4 instrumental groups – a symphony, a string orchestra, a chamber group and solo piano. Critic Jon Ted Wynne, in his review, cited the music for its “bone crushing poignancy, ethereal bliss and percussive bite.”
“Heydrich’s Assassination” from my score for “The Last Flight of Petr Ginz”:
“4th and Goal” is the epic tale of six young men in their quest to join the most elite club in professional athletics: the NFL. I was music supervisor for the score, bringing in Irish rockers Anto Drennan and Ken Kiernan to create and record it. I also contributed several cues, including this:
“Tarnation” is Jonathan Caouette’s deeply personal story of his mother’s mental illness. This remarkable film, shot over more than 10 years, starting when the director was a child in the ’80s, attracted great international attention and was universally regarded as a breakthrough in the language of cinema. My score for this film was for orchestra, electronics and acoustic guitars. For all the torment in “Tarnation,” at its heart the film is a statement of love from Jonathan to his mother.
“Hummingbird” for orchestra and acoustic guitars, from my score for Jonathan Caouette’s “Tarnation”:
“Section 60, Arlington National Cemetery” is the third in a triptych of Iraq war documentaries by two time Academy Award nominees John Alpert & Matt O’Neill. This piece is a meditation on the loss and heartache left with the families of fallen soldiers. My score, originally composed for the first film of this series – “Baghdad ER” – is for 60 piece string orchestra, harp and flugelhorn.
“Remembrance,” from my score for “Section 60, Arlington National Cemetery”:
“The Personals” was Keiko Ibi’s Oscar winning HBO doc which explored the sex lives of a group of octogenarians living in Manhattan’s Lower East Side. The film, though light hearted on its surface, dealt with issues of loneliness and mortality. My score was a lighthearted, Latin-Jazz romp featuring performances by Alto player Hayes Greenfield and Dutch drummer, Niki Buzz.
“The Rehearsal”: from my score for Keiko Ibi’s Oscar winning film:
“She Says; Women in News” was Barbara Rick’s National Emmy Award winning doc exploring the women at the forefront of journalism. My score, for symphony orchestra, attempted to create what could have been a theme for a nightly news broadcast.
“Urgent News” from my score for “She Says; Women in News”:
“Nuremberg; Its Lesson for Today” is Joshua Waletzky and Sandra Schulberg’s restoration of Bud Schulberg’s 1947 documentary about the Nuremberg Trials. The film contains an original score by German composer, Hans Otto Borgman. However due to the degraded condition of the recording, I was brought in to reconstruct that score for the film’s release – more than 60 years after it was made.