I never sought out film scoring or sound design gigs or pursued it as a career. It just sort of happened while I was doing other things. I started with just helping some friends shoot short, artsy films that needed original music while we were in high school. Being a musician who is a huge fan of movies and theatre, I felt up to the task of writing the music and having enough of a sense of drama to compliment what is being seen on screen. I love the feeling of losing yourself, and only want my music to help with that vehicle. It turns out that I really enjoyed the process, and from there the jobs found me.
My biggest goal is to enhance the visual element to the point of making the music inseparable from the action, and vice versa. To that end, I try to keep a very open mind on the vision of the film, and in what direction the score needs to go. This allows any idea to be on the table, and I’ve been lucky enough to work on such a variety of projects that have stretched me genre-wise into directions I never thought I would go. In that sense, writing music for film requires you to act like a chameleon in many ways – bending and stretching your style to fit the project. For me, this is ideal. I truly love so many types of music, and although I have composed and performed in the rock scene, the classical scene, the jazz scene and so on, I’ve never felt like I belonged to one particular world. In writing music for film, I can incorporate everything that I love from those worlds into my own.
My work in sound design also just seemed to happen. I find it combines my audio engineering background, musical pacing, and knowledge of film production. Creating the right sound design for a film is incredibly satisfying. Knowing which aesthetic is needed to deliver and sell the sound to the viewer is of utmost importance.
Please feel free to browse my past work, and do get in touch if you are interested in discussing your project with me. I have worked in several mediums, from orchestras to all electronic sounds to somewhere in between, and I strive to please every director I work with while retaining a continued curiosity that fuels my desire to keep learning something new. I’ve also been taking on the task of producer lately, which presents another set of challenges and rewards in the filmmaking process.
Film Scoring and sound design credits
Made in Chinatown (2021) (feature) Dir: James Lew, Robert Samuels (incidental music)
Maersk (2019) (online ad) Dir: George Murphy (sound design)
LOVE Park (2018) (assorted videos for Philly Fringe Fest) Dir: Brendan McGeehan (scoring and sound design)
Aerial (2017) (animated short) Dir: Dom Hilton (scoring and sound design)
Groundhogs (2015) (short) Dir: Jamel Northern (scoring and sound design)
Hermione (2015) (documentary) Dir: Dom Hilton (co-producer, score)
Blind Date (2015) (short) Dir: Jamel Northern (scoring and sound design)
PeopleMetrics (2014) (corporate) Dir: Dom Hilton (score, sound design, location audio)
Providence Center (2014) (non-profit) – audio mixer and score for non-profit org (2014) Dir: Dom Hilton (score)
Dizzy Fingers (2014) (documentary) – plane crash sequence (2014) Dir: Dom Hilton (producer, score, sound design)
Izzy’s Storm (2014) (short) Dir: Dom Hilton (producer, scoring and sound design)
Capt. Jerry (2013) (documentary) Dir: Dom Hilton (score)
Remember the Pain (2012) (documentary) Dir: Idit Knaan (score)
Max Thrust (2012) (short) Dir: Dom Hilton (producer, scoring and sound design)
Trouble’s A’Brewin’ (2012) (short) Dir: Dom Hilton (producer, scoring and sound design)
Next Sunrise (2011) (short) Dir: Jim Stevens (score)
Going Under (2011) (feature) Dir: Carman Spoto (mixer/sound design)
Bro Hugs (2011) (short) Dir: Jason Fracaro (score)
Bear Hands (2011) (short) Dir: Brandon Michael Cater (score)
Holy Sh*t (2011) (short) Dir: Brandon Michael Cater (score)
like…totally (2011) (short) Dir: Brandon Michael Cater (score)
My Corndog and Me (2011) (short) Dir: Brandon Michael Cater (score)
Purple (2009) (short) Dir: Maxwell Haddad (score)
Sleeping With the Fishes (2008) (feature) Dir: Peter Defeo (score)
Brother’s War (2007) (short) Dir: Lindsay Snyder (score)
Apt. 203 (2006) (short) Dir: Jamie Paul (score)
Rayne’s Reef (2005) (short) Dir: Jamie Paul (score)