I’m thrilled to announce that “Spare Change” is now available on VOD!
After getting fired from her job by her boss Sheila (Krista Allen), millennial Jane (Lissa Lauria) is unable to find stable work. So along with her best friend Lily (Elyse Levesque), they hatch a plan to feign homelessness to make a quick buck; finding different, creative ways to get money from strangers.
Co-scored with my good friend and Quartertone Musik writing partner Allyson Newman. “Spare Change” is a fun, quirky indie score with subtle influences from pop and rock. The primary challenge with the score was balancing out the music with the various song placements (there are many great ones, and even a couple by the lead actress, Lissa Lauria) while continuing to tell the story of Jane, so we decided to stick mainly with Jane’s theme which grounded the score and the story as we went with her journey. The score grows, changes and evolves along with Jane by starting off quirky; switching gears to buckets and other street percussion when Jane pretends to panhandle; then finally adding in warmer instruments like acoustic guitar and strings as Jane starts to learn where her real place in life lies.
“Spare Change” is co-directed by Arturo Guzman and Jonathan Talbert (Weeds, Orange is the New Black), and is available on iTunes and Amazon VOD.
I had the pleasure of composing additional music for my good friend Craig Wedren on the new Netflix series “Wet Hot American Summer: First Day of Camp.” The prequel series takes place two months before the cult-classic film from 2001 and has not lost a step in terms of craziness.
So proud and ecstatic to have contributed to this insanely funny world.
In the season six finale, Blake (Rob Corddry) has had enough of the rest of the hospital staff treating him like… well.. a clown. Daily cobras in his locker and kick me signs have pushed him over the edge just as a new head surgeon position opens. Seeing his time to strike back, Blake sabotages the other’s chances for the job and finally gets his revenge.
Working on Childrens Hospital is the highlight of my year and I’m always a little bummed when it’s over, but season seven is shooting now!
There’s a murderer on the loose in “Me, Owen;” a tribute to modern noir stories featuring Dr Maestro (Hob Huebel) and Det. Chance Briggs (Nick Offerman). In this episode I delved into a dark electronica score filled with pulses, sound design, ear candy and electro perc blended with strings.
(sidenote for an unsolicited endorsement: A lot of the sounds for this episode originated from some of The Unfinished‘s expansion packs for Zebra, Omnisphere and Absynth. If there are any composers reading this who are looking for new sounds beyond the factory presets, he’s making some of the best stuff out there)
As the murder investigation progresses, the story flashes back to when Maestro and Briggs REALLY met each other. I won’t spoil it, but it involves lab experiments, a baboon, and shaving.
“Sperm Bank Heist” is a heist story along the lines of “Ocean’s 11” and “Leverage.” Like many of the show’s parodies, this episode gave me the chance to stretch, learn, and try something new (for me). In this case, we wanted to parody Dave Holmes’ great score for “Ocean’s Eleven.” The jazzy, downtempo, slightly trip-hop-y style was one of the more challenging scores to achieve this season, but one of the most satisfying.
“Up at 5” is the annual behind-the-scenes episode for this season where the cast appears on a morning talk show to promote a Kickstarter for there upcoming “Childrens Hospital” movie. There wasn’t a lot of score in this episode but the real fun was scoring the movie clip that airs at the end of an episode, a Mad Max-esque end of the world style action piece with our doctors imprisoned and fighting for their lives.
In S6:E5 “With Great Power…” Lola discovers her pout has the power to make anyone do what she wants. Her power backfires when used irresponsibly, like pretty much everything at Childrens Hospital and she discovers that her mentor (guest star Fred Melamed) has a similar power with his “Imperious Gaze.” In “Facial Battle,” Lola’s pout is represented by a simple celeste arpeggio and Leonard’s imperious gaze is a dark swelling synth sound as they battle on the rooftop for control of the hospital.
Blake tries to find love in S6:E6 “Just Like Cyrano de Bergerac” and enlists the help of Glenn to “pull a Cyrano.” As the story progresses, a whole chain of Cyrano’s is revealed.