My work will elicit an emotional reaction you will be powerless against. So much emotion you’ll be driven to tears, to flailing hysterics, to near-apocalyptic insanity. Enjoy.
You can try to prepare for yourself for Shelby, the hairless cat. And you will fail.
Who doesn’t like a terrifying trip to the dentist? You, you doesn’t, that’s who.
Four seasons, two squirrels and a boatload of nuts.
Listen, it’s science music!
Weird, funny and original — just the way I like it.
Anthony Hopkins is a self-help guru; Joel David Moore and Jason Biggs his apprentices. Writing a theme for Hopkins was fun…and terrifying.
The legendary John Ford directs, Oscar-winner Victor McLaglen stars, in this gothic silent feature I scored for 20th Century Fox.
Recently I got to compose for some of Disney’s best-known brands: Pirates of the Caribbean, Cars, Toy Story, Mickey Mouse, and this one, Iron Man.
There’s nothing like writing music for World War II, and for an actor like Gregory Peck, to make you feel like you’re doing something important.
This theme I wrote for TRON should make you want to go immediately to a trendy dance club. If it doesn’t, there’s something wrong with you.
You know what’s great about silent movies? No sound effects. No dialogue. Lots of music. And in this case, a film directed by an influential auteur.
I embraced my inner head-banger for this TV spot for Bell helmets. Seriously, nobody should have survived this crash. Have a look.
Six stellar guitarists and a famous sound mixer walk into a bar, uh, I mean, recording studio – stop me if you’ve heard this one…
If we all had our own whimsical musical theme, played on solo clarinet, I think the world would be a much happier place.
When the day came that I got to compose a score for jug band, and I got to play all the parts myself (pots and pans, too)…well, that was a good day.
Big sweeping Disney theme, with a fairy-dust topping.
Scoring an uncomfortable dinner party, on a stark white set, where the guest of honor is strapped in to an electric chair? This was a fun one.
This is an indie film about a guy who can communicate with nature. You might consider this “music to go insane to.” But in a good way.
Fee, fi, fo, fum…I smell a three-part orchestral score for a famous fairy tale.
Embrace your inner hillbilly and your country rocker, both at the same time!
Two hearts, two spoons, one show-stopping musical number about breakfast.
This song is going to change the world, one wardrobe accessory at a time..
Roll over those little pictures on the left for project details, or click on one to activate the media player.
Shelby the Sphynx is a cat on a mission. What that mission is, he has no idea. Dir. Jay Lender; Pilla/Scheetz Prod. 1:29
I put the music-only version of this up as a Morsel O’ Music several months ago. Then I figured, heck, you might want to see it to picture. So here’s the first cue from a slightly longer scene. The animation wasn’t quite finished when I scored it, but you’ll get the gist. 2:05
Oh, you’ll learn about seasons…and you’ll like it. This is one of a series of “Nutly” science animations I scored for abcmouse.com. 2:01
You know when you’re a grown-up and you work on a project for kids, and you realize in the midst of it that you’ve forgotten a whole lot of what you learned in science class? That happened here. This is one of a series of “Nutly” science animations I scored for abcmouse.com. 4:33
A semi-aquatic ombudsman travels through time and space to address bureaucratic problems in hell? Count me in. Here’s the main title for the episode, “The Inventor, Part 1.” Created by the extremely talented Jennifer Shiman. :36
This comedy starring Oscar-winner Anthony Hopkins, Joel David Moore and Jason Biggs, is currently making the festival rounds. It’s a short, awaiting a feature production, and it stars Hopkins as a self-help guru and Moore and Biggs as his opportunistic protégés.
In this scene, Hopkins’ character Fabian Hogarth introduces Moore and Biggs to his “three rules.” 1:20
In this scene Biggs and Moore attempt to put Hogarth’s plan into action. 1:12
This is the music-only version of the first video clip. 1:14
This is the music-only version of the second video clip. 1:06
From a composer’s standpoint, I don’t know if it gets much better than this – scoring a film directed by the legendary John Ford and featuring Oscar-winner Victor McLaglen and John Wayne. This was for part of an award-winning DVD box set called Ford at Fox, produced by 20th Century Fox. I had three players – Bryan Pezzone (piano), Sheridon Stokes (flutes) and Sebastian Toettcher (cello) – who did incredible jobs helping me bring the gothic, dramatic music to the screen. 4:41
I composed a number of main themes for a series of Disney brands illustrated in time-lapse video on Etch A Sketch by artist George Vlosich. This one’s Iron Man; others included Pirates of the Caribbean, Beauty and the Beast, Toy Story, TRON: Legacy, Cars and Mickey Mouse. Music-only; 1:17
This is from a score I composed for documentaries produced for the 20th Century Fox Cinema Classics Collection release of Twelve O’Clock High, starring Gregory Peck. The score needed to invoke the tragedy, psychological torment, patriotism and ultimate triumph of WWII.
Underscore for one of the four documentaries; the sweeping “patriot” theme comes in for the end titles. 2:28
This is the “emotional” theme, which underscores the loss at home and abroad during WWII. :47
This is another in the series of Disney brands illustrated in time-lapse video on Etch A Sketch by artist George Vlosich. The jumping-off point for this was to update the TRON sound to the Daft Punk-era style Disney was looking for — darker, moodier, but with enough up-tempo elements and dramatic arc to help push the visuals. 1:17
A year after they produced the Ford at Fox box set, 20th Century Fox came out with Murnau, Borzage and Fox, an acclaimed set of films by influential filmmakers F.W. Murnau and Frank Borzage. The Lazybones score featured Bryan Pezzone (piano), Sheridon Stokes (flutes) and John Goux (guitars), and called for a more pastoral approach, though with plenty of drama, action and comedy. 2:35
Ad agency DMNA hired me to score this TV spot of Evel Knievel practically breaking in two on a jump. I now wear a Bell helmet everywhere I go. Even inside. :30
An audio technology company said they needed a piece of music that would help demonstrate their proprietary, wireless, seven-channel surround-sound system. I composed this for six guitars (one in each speaker) and percussion. Fino Roverato, Grant Geissman, John Goux, Joe DiBlasi, Mitch Holder and Joe Jewell played on it. Legendary sound mixer Dan Wallin recorded it. The resulting seven-channel version sounded amazing. To recreate that listening experience, simply imagine this stereo mix with five more channels… Music-only; :55
Ad agency R&R Partners produced a series of animated TV spots for the National Mining Association, using this cute elliptical-headed miner as the main character. They wanted the music to be simple and a perfect match to this animated world. Easier said than done. I wrote the parts for solo clarinet and hired the inimitable woodwind master Dan Higgins, who added subtle nuances that brought it to life. :15
In The Extra, Joe, an earnest-but-dim-witted aspiring actor from Louisiana, takes up residence on a soundstage of the Paramount Pictures backlot. As I recorded this score, the various instruments that lay strewn about my studio included harmonicas, guitars, a banjo, a washboard, a spoon, a manila envelope and brushes, shakers, a small sauce pan and a 6-quart pot and matching lid. Music-only
“Joe Wakes Up” is the main title cue and scores Joe’s morning routine as he gets out of bed on a deserted soundstage and hurries to his gig as an extra. :42
This is the climax of the film, as Joe mistakenly puts on the lead actor’s suit and is chased in over-the-top-Hollywood style throughout the studio lot. 1:30
I wrote this for Walt Disney Parks and Resorts Online. The challenge was keeping the big theme while transitioning to different lands and trying to add at least a little flavor of each along the way. Then…big finish! Followed by a small finish! :33
Adapted from an award-winning play, Dinner Party is a sparse, dark comedy that was great fun to score. I used a lot of repeated sequences in it, along with some delay effects on flute and pizzicato strings, with the goal of creating a surreal, claustrophobic feel. Music-only
This is the main title, which underscores a prison inmate being strapped into an electric chair. 1:42
This cue has a more minimalist feel to it, lighter and more orchestral than the main title, but builds to an undulating climax later in the scene. 4:12
This independent film chronicles a disturbed and gifted man’s struggle to convince the outside world that he can communicate with nature in remarkable ways. Abstract little movie, and one that offered me a wide-open canvas for music.
This montage captures the broad arc of the film (and the different moods and themes the music had to reflect) – from suspenseful to pastoral, and from psychologically torturous to quietly tragic. 1:43
Speaking of psychologically torturous, this cue accompanies the main character’s spiral into insanity. 3:23
Composed for the folks at abcmouse.com, this is the full score I wrote for their illustrated storybook version of Jack and the Beanstalk. Music-only
In the first cue, Jack and his mom must sell their beloved cow. Jack goes to the market and ends up exchanging the cow for magic beans. Mom’s none too happy. But then the beans grow into a giant beanstalk and Jack climbs up… 3:13
Here, Jack discovers a strange new world at the top of the beanstalk, including a nice giant woman. Her husband, also a giant, not so nice. Fee-fi-fo-fum, all that stuff, you remember. The giant comes in all cranky, eats dinner, orders his goose to lay him a golden egg, then nods off to sleep… 3:16
In the final act, Jack slips out with the goose while the giant sleeps, but the giant wakes up and chases them, all the way to the beanstalk. Jack and the goose make it down unscathed. Jack then brings the goose to his mom, they get rich off the golden eggs, and here endeth the story. 3:00
I’m a firm believer in “method composing,” so while I wrote this music for Grizzly River Run – a wild and drenching outdoor river ride – I wore a protective rain slicker. :38
Disco, ’80s pop and robot music, country, rap, zydeco, punk rock – you name it, this tongue-in-cheek web-series I wrote the music for had it all. Including this hair-band-inspired rock ballad. You feel me, Night Ranger? 1:05
For the last 20 years or so, my best friend David Levine and I have been in a band we call Chip & Drifty. In it, we write songs, record those songs, and occasionally even perform them in public. Here’s one I wrote, which will be included on an album we’ll be releasing imminently. Fame and fortune to come. 4:02