Videos in this section
are, in most cases,
edited by Doug.
He also wrote original
music, designed/edited
sound, and edited
dialogue.
Work performed: ALL post including score, source music, picture edit, sound design, dialogue edit, sound mix, and color correcting and grading.
Work performed: Score, sound design, dialogue edit, and sound mix.
Composer Reel
A sampling of scores in different styles and genres as well as for different creative contexts including, features, shorts, commercials and theme music.
Work performed: ALL post including score, picture edit, sound design, dialogue edit, sound mix, and color correcting and grading.
Work performed: picture edit, sound design, music supervision, color correcting and grading, camera operation, direction, and sound mix.
Work performed: picture edit, sound design, music supervision, color correcting and grading, and sound mix.
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:
In Defense of Daydreaming - full length album of original guitar centered instrumentals
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
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.