I recently scored a new short film, I do not Want to Smoke, by filmmaker Steven Sheil, who worked with medical historian Anna Toropova from the University of Nottingham on the script. This fascinating Welcome Trust funded film is based on a script for a Russian medical film from the 1930s which was initially intended to show how hypnosis could be used to cure people from the urge to smoke.
The film called for solo piano music for its score, which ranged from minimalist to Russian nationalist influenced. I asked the fantastic Kamilla Arku to record the piano part.
I was thrilled to have a couple of cues from my music to Seahorse played on the Mark Kermode show last Saturday, 7th September. He played and discussed A Positive Result and The Long Wait, which were written for two separate scenes dealing with Freddy’s pregnancy tests. Mark Kermode hosts a fantastic show on Scala Radio, all on film music, and I made some great new discoveries.
The show is available to listen online for a few more days here and my cues are about 12 minutes in, although I have to say I was pretty chuffed to hear at the start of the programme “I’ll be playing music from Bernard Hermann…Mica Levi and Tara Creme”
Great news from Poland! My Friend the Polish Girl has received the Grand Prix at this Film Festival for debut films. A massive and deserved well done to directors Ewa Banaszkiewicz and Mateusz Dymek who were there to pick up their award, and also to Michal Dymek who picked up best cinematography. Next stop for the film is a UK release from July 19th.
Seahorse had full and enthusiastic audiences for its European premiere screenings at Sheffield Documentary Festival last week. It was great to travel up to watch the film — including q+a with director Jeanie Finlay and film’s subject Freddie McConnell — where I enjoyed a few days watching documentaries and attending talks. Other highlights included American Factory and audience award winner For Sama, as well as a talk with the legendary Werner Herzog. Seahorse is currently showing in New Zealand, and will screen in London on July 16th.
Exciting news that the documentary feature I scored, Seahorse, is to receive its world premiere in competition at Tribeca. Directed by Jeanie Finlay and produced by Andrea Cornwell for BBC Storyville it is “one trans man’s pioneering quest to fulfil an age-old desire: to start his own family. This is the story of the dad who gave birth.”
It was a great pleasure to work with Jeanie on this documentary, which I scored for strings, piano, accordion, guitar and electronics.
Editor Alice Powell, executive producers Charlie Phillips at Guardian and Orlando von Einsiedel at Grain Media, Sound Designer Pip Norton.
I have just completed music for Cosima’s lovely and informative short film Phyllida, about the artist and her work.
The film coincides with Barlow’s fantastic new exhibition Cul-de-Sac at the Royal Academy and will be screened every Friday evening for the duration of the show.
Beautiful playing by Richard Curran and Jack Tait Westwell and music mixing by Rich Aitken. Also thanks to Sonica Studios for when I asked if I could prepare and record their piano responding with “sure, we’re always up for this kind of madness!”
More good news for My Friend the Polish Girl. It was recently nominated for the Michael Powell award at the Edinburgh International Film Festival, where it also had its UK premiere. I joined the directors Eva and Mateusz and actors Aneta, Emma and Darren for the festival and great fun was had by all. Sadly my short stay meant I didn’t get to see many films but my highlight was the powerful documentary Island of the Hungry Ghosts.
Following on from Edinburgh, My Friend the Polish Girl has been entered into the international competition of New Horizons Festival, Wroclaw, Poland, which takes place at the end of this month, and now the “Certain Regard’ competition at Gydnia Film Festival in September.
My Friend the Polish Girl in Bright Future Competition
Last week I finished the last bit of music for My Friend the Polish Girl, a first feature film by Ewa Banaszkiewicz and Mateusz Dymek. Tonight it premieres at Rotterdam Film Festival, in the Bright Future Competition. I enjoyed creating an electronic, minimalist score for this film. Best of luck and sorry I couldn't join you in Rotterdam Ewa and Mateusz!
Last day of the sound mix at the fantastic Twickenham studios last week, and the film is all finished. Here I am with the wonderful Francesco Iannuzzelli (oud) and Omar Saad (viola) at Crypt studios recording the music.
I really enjoyed working on this beautiful with director Ashtar Al Khirsan, editor Tracey Granger and sound mixer Doug Woodward. Looking forward to seeing it on the big screen!