Videos in this section

are, in most cases,

edited by Doug.

He also wrote original

music, designed/edited

sound, and edited

dialogue. 

EXPERIENCE:

Narrative credits include:

Catalyst

Conviction

Hit The Hitman

Grand Cru

Back To Zero

Ain’t Nothin’ Nice

Moving Day

 

Commercials, jingles and theme music credits include:

TV and new media spots for Joy The Baker

Internet campaign for Nordstrom

TV campaign for Erickson Assisted Living

Westside Pain Center

Act Like A Pro podcast

 

Theatre includes music and/or sound design for:

Dead Man's Cell Phone

Dead Accounts

Dear Master

The Musical of Musicals: The Musical

Being Boeing

She Loves Me

Pygmalion (two different productions)

Major Barbara

Five Women Wearing The Same Dress

Bus Stop

Dinner With Friends

Blithe Spirit

Twelfth Night

 

Recordings include:

Hundreds of songs and compositions in various styles
including:

Three albums of contemporary rock/pop-

Who You Are

Building A Monastery (winner- 2006 Album Of The Year CityPaper)

Love and Logic

 

recordings as studio guitarist available upon request

Composer Reel

EXPLAIN YOUR APPROACH AND STYLE OF COMPOSING:

The first thing on my mind is to capture the right emotion and mood of the scene. So I might start by playing guitar or piano along with the film to get some ideas going.

 

I’m thinking about the music that has come before and what might come after (although I don’t necessarily compose in chronological order)

 

I’m always asking myself “How do I serve the story and how much music do we need in this scene?” My ethos is to write only what needs to be there. If a scene can stand on its own without music, so be it.

 

My approach often begins with improvisation and getting
ideas recorded. Then I may develop ideas on paper and start thinking more technically and practically.

 

I tend to move freely among the guitar, keyboard, my
recording equipment and my manuscript paper.

 

WHAT DO YOU NEED FROM A
FILMMAKER TO BEGIN COMPOSING?

I can start composing with as little as just knowing the style the director wants (orchestral, country, jazz, heavy rock,
funk, blues, period music, music from around the world) and that will inspire me.

 

Or they can go as far as providing temp tracks that capture the general idea of what they’re looking for. I’ve gotten good over the years at getting at what a director wants, even if they aren’t necessarily able to articulate it in musical terms.

 

WHEN DO YOU LIKE TO BE BROUGHT ON TO A PROJECT?

My turnaround time is pretty fast, so whenever the filmmakers are ready, I’m there.
In a perfect world, I’m happy to get it when picture is locked or pretty close to it.

 

DO YOU OWN YOUR OWN RECORDING EQUIPMENT?

Yes: a small army of guitars, basses, keyboards, synths, world and orchestral sounds, drum samples and loops, a few mics for varying applications, Logic, Sibelius and of course, Protools.

 

WHAT TYPES
OF MUSICIAN DO YOU WORK WITH?

I like to work with musicians who, like myself, play numerous styles. I like musicians who can read notation and chord charts and who can improvise and bring something to the table beyond what I’ve written.

 

That said, I’m usually able to perform all the music I write, which helps with costs and meeting deadlines.

 

REEL AVAILABLE?

Yes. Right here on this page.