Writing music for stories is my profession and life’s pursuit. It’s something that I can’t help but do. I first realised I wanted to write music for films age 6 watching Star Wars.
I love scoring because it requires you to dream outside the realm of the known, to immerse yourself fully in a moment or a character, and seek out a story’s beating heart; that unique thing that makes it important to tell.
Music is such a powerful storytelling tool, it’s amazing to think that not only was it a part of the art form of cinema before dialogue in silent movies, it also preceded speech in human history. It gives me a lot of satisfaction when I can empower directors to push this tool to its limits, and to take them on a journey of discovery across musical genres and cultures.
To me, as soon as sound is intentional it becomes music. All sound, be it laser rifles or lapping waves have musical characteristics and emotion. Sound and music for media have to work together to create a cohesive picture, and I particularly enjoy the projects where I have the opportunity to oversee an aspect of each. There is an exciting middle ground between traditional composition and abstract sound design too where one can create startlingly affecting results.
I’m based in Wellington, New Zealand’s Film capital, and can take on scoring and sound design projects of all scales with a solid network of world-class sound and music professionals. I live with my partner Anna, who herself is a talented vocalist and electronica artist, an ever growing collection of unique instruments and resonant pieces of scrap metal, and our dog Max (who is also a talented vocalist).