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I live in Brooklyn, NY and I love it here.  I came here for my career in 2009 and haven't once looked back. 

Friday, February 21, 2014


I'm gonna do it.  I'm gonna start another blog entry with "It's late and I should be sleeping..." So here goes:

It's late and I should be sleeping.  But honestly, when you've got Nicaraguan rum and Jamaican style ginger beer and a head full of hope and thoughts of the future, it's hard to settle down.  Plus I had some work to do.  It's probably a little too soon, as the final cut has not been polished, but I've been spotting for "The Life." Mostly independently of the director and the production team so far, but George and I have chatted a tiny bit about it.

My process is usually this: (and I've gotten some of this from a lot of industry people who say this is their method, and it works for me)

I start by just watching the film/movie/episode/whatever one time through without any thoughts about music.  Then I add a second viewing where I'm also not writing anything down but I let thoughts about music start to creep in...incidentally this is why I hate it when editors put in temp music...most of the time.  It messes with my conception.  I couldn't get a Latin vibe out of my head for an early feature film I scored about 10 years ago because the director himself had put some canned Latin loops in the opening scene.  Anyway, on the third viewing I actually make notes about what scenes can use music, coming up with names like "So and so takes a walk in the park" which sometimes end up as the actual title of said music cue.  Still no time codes at this point, though.  This is the point at which I like to sit down with the director and ask their thoughts and usually get shot down on a few things.  Then and only then do I actually sit down and start riffing while watching the film...quite possibly the funnest part of all.  This is when it really starts to take shape.  Incidentally, I really like it when a director has strong opinions about where and when and how music should go...okay, not always how.  Sometimes I just want them to let me do my thing.  But you can't have it your way all the time. 

Further refining of ideas comes and then I start to nail down starting and ending time codes so it's not all "music stops when so and so walks out of frame."  Then it comes down to actual production which is where the real magic happens, the fun part.  Who am I kidding?  It's all fun. That's why I do this.  And why I've been dying to get started on this project. 

In my spare moments over the past few weeks, while I've waited, I've started to dream up my next vacation.  And yes, it's to Nicaragua. Again.  But I've been approaching it with the same zeal with which I approached the trip to France I planned in 2007 for my parents and my aunt.  After all, planning is so much fun!  Maybe that's why I also like the planning stages of composing a film score.  I like organization.  But at the same time, I love that feeling of uncertainty right before implementation.  That "how is this going to go?"  That fear of failure and desire for success.  It's positively exhilarating.

The Nicaragua trip won't take place until next January more than likely (because it's contingent upon my accrual and usage of vacation hours) but I have my sights on an island comprised of two volcanoes, one active, one extinct, in Lake Nicaragua called Ometepe that a co worker informed me about.  I found this site which I have fully digested now, and through which I've almost chosen a hotel.   I also plan on starting the whole trip back at the Apoyo Lodge on the Apoyo crater lake because they host three day yoga retreats there all year round.  Then, I go to Ometepe and hike to a crater lake where I can swim, explore the island and take in the petroglyphs and then, when I'm fully exhausted, I get Gonzalo to meet me in San Pedro and drive me back to Casa Ola where I will stay for the remainder of my time...and finally learn to surf. 

It's gonna be one incredible year leading up to all that though.  It has to be. 

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