Then I took 8 years of French Horn, first jazz, and then classical.
And I definitely have an affinity with the piano.
I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.
If the finest hour is now, then I'll always be in it.
I'm just like you, only I'm different because I'm me.
I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
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 moo...
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.
And I think that I'd be a natural for scoring horror movies.
