I scored a film about a photographer who documents animal suffering which is playing at Hot Docs, called The Ghosts In Our Machine – it premieres Sunday April 28th at the Bloor. This is actually the 2cnd time I will see a film at the Bloor that I scored. The previous time I felt like elbowing every stranger on either side of me, “Hey I did that. Did you like that? I did that. Really. Hey you stop talking – listen to the movie!”
As my relationship with the director, Liz Marshall, progressed over a year and a half, it became apparent that what was working for her was electronic music. I am called upon to make electronic music about as frequently as surgeons seek my opinion on gallbladder operations but I was excited to try to prove myself. I liked the inherent conflict – that in my heart of hearts I find electronic music insipid. Much of it sounds like one note depressed by someone’s index finger, while with their other hand they text a friend about dinner reservations. Wow was that ever amazing that you played that note for a fraction of a second and then all this factory programmed stuff happened.
There are of course electronic instrument choices that very organic with dimension, that shift in time, that you can sculpt and alter. So the test was on, can I make “good” electronic music? Is it as simple as I thought? Am I an imposter? Can I handle the truth? Can I text and write simultaneously? It all worked out well, Liz was happy with the final pieces. But subsequently an unexpected thing happened. People tell me they think it is more “serious” than the music they usually associate with me. That’s an unforeseen good thing. I didn’t know people didn’t know I write serious music but maybe that’s how it is, maybe that’s the best thing about heading into new directions, getting new results. CLICK HERE TO SEE TRAILER