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And when that's working, the sum can be greater than the parts.
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
I grew up outside of DC, New York state, and Connecticut.
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
I'm from all over the Northeast.
I'm just like you, only I'm different because I'm me.
If the finest hour is now, then I'll always be in it.
In scoring, I usually start with a sound or group of sounds, searching out what feels right.
So, through playing with Cop I realized that there is a potentially interested audience out in the world.
Then I took 8 years of French Horn, first jazz, and then classical.
Yes, I was forced to take piano lessons for 8 years as a child.
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