And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.
I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life.
I've had a lot of highs in my life and a lot of lows, some pivotal experiences, and in ways I feel like I've already lived a couple of lives.
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.
But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.
And I think that I'd be a natural for scoring horror movies.
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.
I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut.
In scoring, I usually start with a sound or group of sounds, searching out what feels right.
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
Then I took 8 years of French Horn, first jazz, and then classical.