HP and the Weekly Sessions Main Title (2021)
The main title from my latest collaboration with the talented Tyler Reeves. This is a fun spoof series about Harry Potter centered around his weekly therapy sessions. The show is still in production. My cue seeks to emulate the great "unemulatable" John Williams score from Harry Potter without directly quoting any melodies. Furious fast string and woodwind runs, mischievous brass "oompas" and melody, and soft celeste all help to bring the magical yet comical world of HP and his therapist to life.
It's Still Your Bed (2019)
Another collaboration with Tyler Reeves. This film follows the story of a young man who, with the help of his new roommate, is able to embrace who he really is. With the exception of two video game source cues, which I also composed, the film is devoid of music until the climax. I wanted to give this important moment the musical payoff that it deserved. Homemade synths and static string harmonics hold in suspense before giving way to a release of motor-rhythmic felt piano. Roll credits. Check out the full film on YouTube: https://www.youtube.com/watch?v=ZJbz8OjkI6I&ab_channel=TylerReeves
Welcome to Malaysia (2016)
The final scene from Rahmah Pauzi's documentary, "Welcome to Malaysia." For this film, Rahmah wanted me to create a score that reflected Malaysia's multicultural society without falling into the trap of making a cheap attempt at the imitation of traditional music. To do so I used a palette consisting of instruments from each of Malaysia's dominant cultures: Malay, Indian, and Chinese, while sticking to more typical Western harmonies and melodies.
Freaks (1932) Rescore
For this assignment, I was asked to compose a score in the style of 1930's cinema. I wanted to make something that was representative of the music at the time, but also of some of the Romantic progenitors of the Hollywood style, such as Wagner and Strauss. As was common with old film scores, my cue is somewhat melodramatic, almost Mickey Mousing the dialogue and action. The scene is essentially a love scene, but it is a complicated one full of heart ache. Likewise, my love theme begins sweet, but moves toward a long middle section of tonal wandering and unstable harmonies before landing back on the more comfortable theme.
When I Grow Up (2019)
A montage scene from Tyler Reeves' "When I Grow Up." In the scene we see the imagined past (in reverse) of a couple through the eyes of a young boy, who has yet to come out to his family. To capture the bittersweet nature of the story I sought to create a "Disney animation-esque" score as emotionally diverse as the scene it accompanies. The dreamlike percussive introduction accompanies the happy married life, the Gershwin style jazz orchestra brings some fun to the bar scene, the love theme first brings joy and romance to the boy's first kiss, but reappears with a more distorted and tortured harmony when he finds out his friend's secret. Finally, the piece ends unresolved as the camera returns to the restaurant revealing the still closeted protagonist. Like the music, his struggle is still unresolved, but there is a tinge of hope in the air.