But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.
From Jim Coleman
And when that's working, the sum can be greater than the parts.
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.
I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.
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 things can happen in a band, or any type of collaboration, that would not otherwise happen.
As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.
First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
I'm from all over the Northeast.
Then I took 8 years of French Horn, first jazz, and then classical.
3 perspectives
2 perspectives
1 perspectives