SAE Magazine 13-3

INDEX l approaches before I start strictly by the songs or y the way we are going to mbination of those things, hilosophy for each record- the most inarticulate part of the artists that I work em see the album as more ction songs. I do believe music out there, so many ever were before, and so ccess to recording equip- e their material online, that en harder to do something ere is a story behind what story can be many differ- an even be about how the se that is one of the main n – the strange recording ave done a number of film that you wish to continue project in your diverse life music? hallenging about film mu- uch dealing with someone mmaker’s or the director’s very open to compromise. at this is not your film, it is their film. You really have to keep that in mind, you really have to navigate this relationship between the director and their film. Of course films also change through the editing pro- cess. You can have really wonderful things that you think are worked out but then suddenly six minutes of the film are missing and all the work you’ve put into those sequences are gone and you have to start over. So it is a highly challenging thing to do, but I like it because it uses a different part of my brain and al- lows me to explore musical ideas that I would never find on my own. Sometimes certain scenes call for certain genres of music and sometimes these are genres I would never touch in my own music or production work. Suddenly you find yourself doing a Caribbean steel drum piece for some scene or something really cra- zily out of realm of what you normally do. That keeps things exciting, having to investigate different gen- res and realms of music. ➤ I do believe that now there is so much music out there, so many more bands than there ever were before, and so many more people with access to recording equipment and ability to release their material online, that we really have to work even harder to do something that is unique.

SAE Magazine 13-3

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