Sprinting a Marathon …

Film scoring is like Sprinting a Marathon …

Last night I slept more than I had in the previous 10 days …. Eavesdrop is done … finally I got to sleep – for 12 hours. No matter how much prelimary work I’d done, many decisions (thousands in fact) came down to what I felt when I saw the locked picture. And what I saw was is a film that good – one that demanded all I had - every second, every thought including several all nighters in the week prior to Monday September 24, 2007.

In order to get as much time with the picture, still get it completed in time for the Sundance application, as well as save some dough at world class studio (a day at blocked rates), an ambitious plan for Monday was set:

10 am to 4pm – 17 jazz cues (14 originals with reprises),
4pm to 6pm – 10 cues for film noir harp music
6pm to 7pm – 2 cues for string quartet and harp
7pm to 9 pm – 5 cues for string quartet
9pm to 10pm – 1 cue for piano and string quartet, 3 solo piano cues
10 pm to ??? - edit, mix, and backup.

We finished at 6am! This was followed by laying in session at Big Sky at 10am. We placed all the tracks, and by 5 pm on Tuesday, my work on Eavesdrop was completed.

I only realized the enormity of what we (the musicans, the engineer and assistants) had accomplished that day when I created a backup of the 44 audio files and it would not fit on a cd, This does not include the 20 minutes of music from the Eroica Trio back in July or the 2 original pop songs that will be dropped in this film. This is a Magnum Opus.

I can say I’ve likely put more of myself and channeled fullest range of my musical expression in this opus than any other one work to this time.

I also learned so much so fast. A crash course like I’d never experienced before.

At one point during the jazz session, I said to the quintet “there are many things I’ll need to say about today later ... “ I was so exhausted I could not complete my thought. I lost my train of thought several times that day (and not just due to exhaustion.) This blog begins that journey to say thanks and memorialize a friend I miss dearly.

I have more to say privately to each of the following, but just wanted to say some things publically.

Deepest gratitude to Matthew Miele for such a great film, Chris Fetchko for taking care of the biz, and to both for the opportunity.

Adam Morrison – you are a timely gift in so many ways. Thanks for putting together such a kicking ensemble. I consider you a close friend now. How I wish I could do what you did …. especially with the solo piano pieces.

Ethel – I really love making music for you. You are so open and you went with me with in my delirium for all the Bernard Herman inspired cues. Your immediate and sincere response to the what will be called the “Rose” theme (more poignantly called by my dedication “For Carter”) was something I’ll treasure all my life. This piece was gift to me is now a gift you for to give over and over again. (You know, we have to put together a commission for suite of the eavesdrop music for string quartet including the opening AND “Rose” theme.)

Carol Emanuel – What a gift you have given a composer … a deeper understanding of an instrument in a class of it’s own. I promise that next time around will be easier for you. Thanks again for playing at our wedding. We gotta talk more about Jobim soon.

Bojen, Derrick and Angie – We did it. We freaking did it. Thanks for making me feel at home in a room with like 30+ incredible mics. We’ve gotta hang soon. I’m so greatful - the copies, the hang on the roof, the old school sound.

Ron, George, Allen, Todd, and Adam – The music you made is exactly what this film needed and everything I was hoping for and more. Such amazing playing, spririt, sound (and reading.) Yet, I know what it’s like when 1st takes go out into the world. One of my dreams for this film includes a screening with a live score. We’ll get another crack at these tunes yet.

You are all part of a team now …. A very loyal team as Ethel can attest.

Speaking of which, “Everything’s Jake”, the first collaboration for Matthew and I, with Ethel on the score, was just released on Warner Home video. It’s on Netflix now.

I’m really pleased with the way Eavesdrop turned out and I feel very confident as it moves out into the world. Deepest gratitude to everyone that played a part in this momentous day.


But most important of all the things I need to say is in the next blog…