“Medical Police” is now streaming on Netflix!! When I heard that the team from “Childrens Hospital” was doing a spin-off / sequel that threw the characters of Lola (Erinn Hayes) and Owen (Rob Huebel) into an International Thriller genre, I was extremely excited to return to this world, and by the prospects of what that could mean for score and storytelling.
Watch all 10 episodes of the first season of Medical Police on Netflix
Coming to Netflix January 10th!
Now streaming on DC Universe!
I’m thrilled to be contributing additional music for the new R-Rated DC Animated series. Picked up for 2 seasons (26 episodes) and recently nominated for an Annie Award for “Best TV/Media – General Audience” the show is bonkers fun and it’s a joy to contribute to it as part of composer Jefferson Friedman’s team.
Now in theaters! Directed by Ken Marino and produced by LD Entertainment, I had the pleasure of co-scoring this wonderful, feel-good, dog-filled family movie with my friend and frequent collaborator, Craig Wedren.
If you’re looking for a nice way to beat the heat this weekend, go see “Dog Days!”
Also, check out the soundtrack now available on iTunes, Apple Music, and Spotify.
I’m excited to announce that “Filthy Preppy Teen$”, the new comedy series I scored, is now streaming on Fullsreen.com and the Fullscreen app! Originally done as an extra episode for the third season of NTSF:SD:SUV as a parody of shows like “Pretty Little Liars” and “Gossip Girl,” the new eight episode season picks up in the same vein by playing on the teen drama tropes while playing with parodies of even more genres.
Each episode is packed wall-to-wall with music with a number of licensed songs, our core score which is a blend of electro/pop/trap elements and orchestra, and a number of score parodies that were a lot of fun to do.
“Filthy Preppy Teen$” starring hannah Kasulka and Max Carver is produced by Paul Scheer, Jonathan Stern, Curtis Gwinn, Abominable Pictures and is now streaming on Fullscreen.
In this season’s behind-the-scenes episode, Falcon (Ken Marino) holds an Art Show showcasing his photography on the Childrens Hospital set.
I was brought on to this episode pretty early on during editing because we were having some difficulty figuring out what the style the score should be in. Previous “behind-the-scenes” episodes were each scored differently. The original “Newsreaders” had a 60-minutes type news score, “Behind the Scenes” was mostly dry with score for a couple dramatic scenes, and “My Friend Falcon” was scored like a documentary. For this episode, we decided to take a light drama, indie-film, small ensemble approach to add some life and energy to the scenes without adding TOO much dramatic weight while still being able to take dramatic shifts and accents when story called for it.
The episode is scored fairly wall-to-wall in this style, with one of the more dramatic moments arriving when it’s revealed that Rory Spindell (Rob Corddry) has an absorbed twin’s face growing out of his back. A slightly creepy, but still playful cue underscores this scene and takes a sad turn as Rory is shunned by his cast mates.
S7:E5 “The Show You Watch”
Did you know “Childrens Hospital” started as a sketch in a 50’s era variety show? No? Ok, neither did I, but this fluid take on time and reality is one of the reasons I love this show. The highlight of this episode started way back during shooting when I was asked to write a variety show song. I was given some old variety show references to study and lyrics by screenwriter Meghan Amram to write “A Real Pickle Lover.”
Performed by Ken Marino and Megan Mullaly, with choreography by Kathryn Burns and processed to sound “old-timey” by our sound mixer Brent Keiser.
The score itself required more of an era-specific pit orchestra, so I went with smaller strings samples, piano, winds, saxes, drum kit and an upright bass.
It’s the Doctor of the Year Awards! Blake, Glenn and Lola are all nominated this year so they hop in Chet’s ambulance to head to Vegas with Owen tagging along. This episode was scored in our “regular” score style but it gave me the opportunity to flush out longer variations of themes.