Ai for film soundtracks seem unnecessary.
I was talking online with a film-making friend about the time it takes to make an original score, and came up with a fun game where they sent me clips from previous works, along with a emotion they wanted it to evoke or a bit of soundtrack from another movie they wanted it to sound like, and I would send an original track back to them in ten to fifteen minutes – without using Ai.
These are some of those tracks.
I would love to score more films. I work “fast and cheap” or “cheap and better.” I’m almost always, as my collaborators say, “a delight to work with.” (When you work with a wide variety of people, over the course of 25+ years, there will be a couple, shall we say, exceptions.)
While I do enjoy being inspired by mid-’70s electronic music, conceptual music, and the soundtracks of Tangerine Dream, Philip Glass, Wendy Carlos and Brian Eno, I do have experience in guitar-driven, less free-form styles: prog-rock, punk, new wave, Gothic rock.
I’m also influenced by John Williams. Like I’m sure true for many people my age, the first thing I taught myself to play on a keyboard was the theme from Close Encounters of the Third Kind. Wait, it might have been Jaws. You know, movies you’d take a six year old to see back then. The seventies were wild.
I remember, years later, plunking away at a songbook of Henry Mancini themes, from Peter Gunn to Ripley’s Believe It or Not! which was one of my favorite collections of modern sheet music we had while I growing up.
My workflow is inspired by Vangelis’s set-up for Chariots of Fire and Neil Young’s composing method on Jim Jarmusch’s Dead Man, but I record different improvisational takes until I run out of time, instead of only twice. This page is for what I do when I only had time for twice.
Some more music I made…
You can find even more of my music in this site’s music category.