When I first arrived back in August to study writing, I decided this wasn't the time to be shy about another aspect of filmmaking that woke me up in the morning: scoring the music. Composing since a wee lad, I'd been a big fan of sweeping, orchestral scores since my grandad sent me to the land of Nod with old Mantovani records. Yeah, I listened to AC/DC when my friends were around, but in private, i threw on John Williams' Star Wars, Jerry Goldsmith's Alien, and on those warm, early-May afternoons, Stravinsky's Rite of Spring.
I was a freak, I admit, but in a good way (he told himself, convincingly). Then, at 14, I decided I was tired of just listening to movie music and started writing it.
28 years (yikes!) and many compositions later, I'm walking into a lecture by VFS instructor (and former Polygram exec), Ken Ashdown, on the realities of entertainment business law and thinking, this is it. Now's the time! So I introduced myself to Ken, hand him a copy of my most recent CD, get some business cards made, create a YouTube channel, and set about promoting my wares.
As most things are, it was slow going at first - setting up, getting known, staying focused on school work, and then actually writing music. But five months later, I've got one commercial under my belt (ASEM Mozambique), am currently writing music for three short film (Roy Hater's "The Flowers", Jason Chan's "Final Verdict", and Nick Humphries' "Forgiveness"), and am setting up for two more.
Then I call the kids in Alberta and, lo and behold, Jenni's just written a sweet new tune on the geetar, James is cranking out Zeppelin on his new strat or The Dubliners on his tin whistle, and Ricky's rocking a concerto at the piano. These are the days you look back later on when all else is dark and say, "Life is pretty damned sweet, after all!"