Rescoring Clips
Below is a selection of clips from movies that I’ve re-scored. This is a practice exercise I’ve always done for fun, and it forces me to think creatively, especially if I’m already very familiar with the original music!
GODZILLA X KONG: THE NEW EMPIRE (2024)
One of the most fun movie-going experiences I had in 2024, I couldn’t resist putting my own spin on the huge pyramid battle in Godzilla X Kong. This movie is just an absolute blast from start to finish. This cue was more challenging than I’d imagined it would be, but I’m pretty satisfied with how it came out! And of course I couldn’t have more love and respect for Junkie XL’s original score in this one.
THE BATMAN (2022)
I’m a huge fan of Michael Giacchino’s score for The Batman, which was part of how I wanted to challenge myself for this piece. I wanted to try to create my own “theme” for Batman, and I tried to weave it throughout nearly the entire composition.
It’s probably more of a “traditional” musical direction than the original, but I think it worked out well!
Everything Everywhere All At Once
Again, I chose this movie because the original score by Son Lux is so moving and unique.
I had an idea for the chord progression right from the start with an extra-long build, and I wanted to try to evoke the reconciliation between Evelyn and Waymond and the love they’ve always had for each other.
Jurassic World: Dominion
I’m a massive fan of the Jurassic Park franchise, and from the first time I saw Dominion this was such a standout set piece to me. I went a little bigger than Michael Giacchino’s sparse yet extremely effective original cue.
The Therizinosaurus is such a wild creature design that it almost felt mythical to me, so I wrote something that felt like it belonged in a horror fairy-tale. It’s a different approach, but that’s sort of the intention! I was pleased with how it turned out.
PREY
I absolutely loved this movie and Sarah Schachner’s exceptinal original score, so I wanted to try to do something different.
I took a very rhythmic approach, and used some very harsh, deep, and lively string sounds. Naru has limited tools compared to the Predator, yet she still manages to hold her own. I wanted to take a sparser, more limited approach to the sound profile for the music as well, and I think that comes through!