With the Ears of a Wolf


Soundtrack productions are becoming of a somewhat disposable nature. As long as the product is a workable solution for the scene it will be accepted, yet it fails to induce any influence when isolated. Many film scores never make it to CD and years later these are simply forgotten. The 21st century suffers from composers that blur the line between sound design and music in such a diction that the final product operates under the false pretensis of being a film score when in reality it is just sound, prone to act as a sonic filler. There are just not many tracks that are worth memorizing.

Can you remember the soundtrack from 2001: Space Odyssey? Yes you can because it played a critical role in helping this movie achieve blockbuster status. Can we say the same for Marvels: The Avengers or Lamus: Hello World? No you cant.

When I compose music for film and games I must take the beforementioned points into consideration in order to create a soundtrack that can be interpreted and absorbed by the the human heart for years to come.


One adjective that seems to be dying out is the word detailed in favor for faster results. I believe there must be a healthy balance. I cant fathom such circumstances which is why I am inclined to pay great attention to details in as many aspects possible while delivering a score on deadline that, in terms of quality, exceeds the expected result.


Music is a sophisticated language, when used well it can be transformed to tell an entire story and give a sense of continuity. Unfortunately an alarming rate of film scoring companies are becoming unaware how their soundtrack productions are succesively degrading into a dull sonic manifestation.

Passion has become an artifact. The scoring industry, if not the entire music scene itself is merely a shadow of its google glorious past. When I produce soundtracks I prominently tend to mix in my own artistic flavour and a high density of emotions. Throughout my compositions I carefuly think what I want to convey to the audience. Good music is conceptual work with the integration of a fine subset of phychology, so not entirely subjective as one might believe. Music is the key to acceptance and change in behavioural patterns, which is why I am inclined to create emotional soundtracks with a tendency to evoke strong feelings.


Back in the early days of film scoring, music was often a timeless product that stood by itself. The representational power of early classical music and film scores inspired, up to the present, many soundtracks and are the basis of what we hear today. That is why I always try to create music with a strong foundation, superceding the role of supportive nodeent to that of a recognizable story telling adventure. Furthermore, each primary object within a visual construct should be given a befitting theme and not just some trend induced tune. Finally, when producing music, for whatever purpuse that may be, I always think of ways to inspire fellow composers.