Requiem For a Dream (Music Video): Behind the Scenes

I just completed a three-day film shoot for my official debut music video, for the song “Requiem For a Dream”.  This song is track #14 from my new album Illumination, and it is my rendition of the popular soundtrack piece by Clint Mansell.

The whole experience was just very positive for me – and I feel so lucky to have been able to work with all of the talented people that I did on this project.  Ryan K. McNeal (writer/director for “Minuet”) came up with the concept for the video, based on a quote by Dante Alighieri – “Beauty awakens the soul to act.” from his Divine Comedy.

Ryan outlined the concept in five movements:

Mov 1:  The Gates of Hell

Mov 2: Inferno

Mov 3: Purgatorio

Mov 4: Ascension

Mov 5: Paradiso/Heaven/Full Enlightenment

FINDING A PIANO:  The Almost Impossible Mission

You would think that finding a piano in Los Angeles would be pretty easy right?

Think again.

It took an enormous amount of time to find a piano for this shoot.   Being that we didn’t have a very large budget for this video, we initially tried to see what we could get for free or on trade.  That route quickly met a dead end.

Next, we started looking into piano stores – because usually stores have recital halls.  Most of the stores we spoke with either did not have the availability to accommodate a film crew, or their recital halls were not, um, “pretty” enough to look good on film.

We did end up finding Kassimoff’s Pianos in Hollywood, who agreed to let us shoot in their store. They are the Bluthner piano dearlership (one of the only ones in America), and were very kind and hospitable.  However, once they realized that we would not actually be recording live audio for the video, they had to back out due to a conflict of interest (my album was recorded using a Fazioli, and they did not want a Fazioli sound dubbed over their Bluthner pianos).

Understandable.  But yet again, back to square one.

I literally contacted every piano store in the LA area, as well as every concert hall, night club, or restaurant with a grand piano.  Most people did not return my emails, and the ones who did wanted too much money. I even put an ad out on LA Craigslist, as well as the user forums on the LA chapter NARAS board (Recording Academy).  It seemed that as soon as people heard the word “film” or “video shoot”, the cost went WAY up.

A week before the shoot, I found this odd church south of LA called “The Onion”, where the inside was circular with these cool lights.  They had a grand piano, and I had it arranged to film there.  Then when I asked if we could move the piano (which was right up against a wall) into the center of the room, they said “Oh no, the piano NEVER moves.”

Strike out, again.

It was only a few days before the shoot, and Ryan and I were really stressing about where we were going to find a piano at.  Ryan had been scouring Craigslist for a free or cheap piano as well. We had found a 6 foot grand that someone wanted to give away to a non-profit group, but the paperwork to take it off their hands would have taken longer than we had.  We found another upright grand on Craiglist, but when Ryan went to go take a look at it he found that the majority of the keys stuck and could not play.

I could go on and on about the various pianos we thought we found, and then didn’t – including the rock star I met (friend of a friend) who offered his 9 foot Young Chang piano that was in storage (that didn’t work out either).

Two days before the film shoot, I was to meet up with fellow composer Glen Gabriel from Sweden (who did most of the beats and additional orchestration on my album).  I asked him if he was game to come with me to Kassimoff’s Pianos to talk with them. He was….so off we went to schmooze some piano stores…

I had a slight hope in my mind that even though Kassimoff’s pianos would not let us film on their Bluthner pianos, that perhaps they might just have another brand of piano in the store we could possibly use.   And I also promised Helga (the 80 year old store owner) that I would stop by for a visit to come play their beautiful pianos. Afterall, I had never played on a Bluthner before.

Glen and I spent three hours at Kassimoff’s talking with the lovely store owners.  They were such kind people – all the way here from Germany and even had a quaint little home in the back of their shop.  Kyril offered us German cookies and cranberry juice, and told us all the stories of the people they had sold Bluthner pianos to over the last 50 years (their wall was full of celebrity photos, including some presidents of the United States).

 I also got to play a very interesting 9 foot Bluthner that was hand-picked by Marvin Hamlesch himself (see photo below).

At the conclusion of our wonderful visit, Helga was kind enough to allow me to use the ONE and only grand piano in their store that was not a Bluthner. It was a little 6 foot Steinway grand.  And for a discounted price, they delivered the Steinway Friday morning to our video shoot at the soundstage.

I have to say, once we finally had that piano, a HUGE stress was lifted from all of us.

And bonus perks – Helga introduced Glen to a very famous Swedish musician on the phone while we were there in the store.  The next Glen told me “I didn’t realize who he was!!!  Oh my gosh he’s famous in my country! I’m totally calling him again this week.”

THE PIANO PERFORMANCE SHOOT – Friday, Nov 16, 2012

So, Friday came and we all met at a soundstage in Korea Town in Los Angeles.  Ryan happened to find this independent owner who rented his stage out to indie filmmakers for a screaming deal.

Of course, first we had to get that piano unloaded and all set up…

Next, Noelle (my makeup artist) and I headed to the dressing room for hair and makeup.  Not complaining, but the morning came particularly early since we had all been out late the night before for the Hollywood Music in Media Awards.  But since our film “Minuet” actually WON the award, we were all in high spirits (the crew doing my music video was the same crew that filmed Minuet).

Yes here I am in all my natural make-up free glory…

While Noelle and I were doing hair and makeup, the crew was getting the Steinway set up on the white screen…


Then for the rest of the day we filmed my performance shots, until about 5:00 pm…

I hadn’t eaten since like 7:30 a.m., but I didn’t want to risk spilling on my dress and so I refused to eat until we finished filming my scenes.  When we were finally done, I don’t think I have ever eaten a turkey sandwich so fast in all my life.

Here is the dress that I wore for the piano scenes – it was absolutely gorgeous and perfect for what we were trying to do with the fan blowing on me, and creating this ethereal scene. Though we really had to pin me into that thing!  Just to make sure sleeves weren’t coming down, or things weren’t poking out – I think we used like 20 safety pins on me.

Here are some more shots from the piano scenes…

Meanwhile I was getting my piano scenes out of the way, our beautiful dancer Ivorie Jenkins was getting her makeup done in preparation for her dancing scenes…

I finally finished up my final scene and was allowed to put comfy clothes back on.  Noelle made the comment to me, “You are either super dressed up, or super casual. There is never any in-between for you is there?”

She’s right.  I’m either in a ballgown or sweat pants.  That is how I roll.

Here’s me totally content because a) I’m in my comfy outfit, and b) I finally have food in my tummy.

I was able to sit and relax and watch Ivorie as they filmed some of her dance sequence on the black screen.  She is just one of the most graceful dances I have ever seen. She most recently finished up dancing for Cirque de Soleil in Las Vegas.

Will, Noelle, and I left the film shoot to go back to our hotel to get a decent night’s sleep, knowing that we had to be up and ready to head to Joshua Tree National Park by 5:30 a.m. the next morning.

Once we got to the park, we checked into a Motel.  Funny part about this is we were worried we would not be able to find a motel so early in the day since check-in is usually not until the afternoon.

However, they let us check in early – and this was after they said they had no rooms available.

I was a bit confused, so I asked my husband what type of miracle did he pull to get them to allow us to have a room and so early in the day?

He replied, “I just told them that a rock star was here to film her music video in the park and they agreed to let us have an early room.”

I busted up laughing. Rock star? Um, sure why not.  Wrong genre but whatever.

As soon as we got our room, Noelle, Ivorie, and I began hair and makeup all over again – this time for the desert scenes.

Ivorie had some very intense “Swan Lake” makeup going on for her dance scenes that day…

As for me, I had a more dramatic look since I was doing a black dress for the desert shots (the video was filmed in black and white, so everything we did was for contrasting purposes).

By the time we found our location in the park and got set up and ready to go, we only had like an hour of light before the sun went down.  Jackson (the videographer) wanted to get some cool backlit shots of me before the sun went down…

The hardest part about shooting out in the middle of no where was the playback for the music.  Ryan had originally brought his ipod with a bluetooth – but then realized that they weren’t compatible or something. So I ended up using my little workout MP3 player and earbuds.  They wrapped the earbuds underneath my hair and down the back of my dress so you could not see them in the shots.  However, the hard part was that my MP3 player was not remote- so every time they called action for a shot, Alex (one of the crew) stood behind me and pushed play on my MP3 player and hurried to tuck it into the back of my dress, and then practically leap down off the rock to get out of the shot.

Alex, you’re amazing.

Here are some more shots from that evening’s shoot…

After we finished up the shoot that evening, we all met up later that night to go to Yucca Valley’s tiny movie theater to see “Breaking Dawn Part 2”.  Okay, so watching that movie with a bunch of film people was hilarious, I just have to say.  Justus (our producer) said wide-eyed “I’m NEVER letting you take me to another movie ever again.”  (It was his first Twilight movie experience).

The next morning was another early morning, as we had to be up at 4:30 a.m. for hair and makeup, in order to be ready to leave by 7:00 a.m. to head out into the desert again.

Hiking through the desert in flip-flops and a long black dress was not the easiest thing to do.  Fortunately I am a very outdoorsy girl and didn’t mind being out there – it was just the logistics of it all!

The crew shot Ivorie’s dance scenes first…

While Ivorie was getting her dance scenes filmed, I was being shown where my next filming location would be.  It was this rock platform at the top of this small mountain structure of rock.

“I’m going to be standing up there??” was my reaction.

Yup.

So my husband, Will, climbed to the top of it first to test it out and to find the best possible way for me to climb up it.

You need to just know something right now – I’m afraid of edges. Like CRAZY afraid.  I’m not afraid of heights, but I am afraid of edges where I can fall. If there is no rail or guard to hold me back from falling, then it just royally FREAKS. ME. OUT.

And they say that if you have a fear, you should just face your fear head on to get over it.

Whoever said that is an idiot because it does not work.

It took me a long time to climb all these huge boulders in a dress (someone else carried my violin for me).  I was in my flip-flops as well.

I finally reached the top where I was supposed to be standing to play my violin, and there were drop-offs on either side of the boulder.  It took me like ten minutes sitting there on the rock before I could muster up enough bravery to try standing on it.  Will (an experienced mountain climber) was there with me the whole time and just reminded me to breathe, and pause to get used to the heights and then climb up a little more.

Yeah, it wasn’t working so much. My heart was still pounding and I had was not feeling so great.

This was Will saying to me –  “Smile for the camera, honey!”.  He did not get a smile.

I kept telling myself “Just do it, Jennifer – do it for the sake of the shot! It’s going to look awesome!”

I finally was able to get myself to stand up on the ledge, get my footing, and put my violin up to my chin.  And then Will hopped down off the ledge and left me there alone and it hit me, as I looked around, where I was…and WHAM I started feeling panicked and nauseous and dizzy. I felt my head starting to spin and realized if I didn’t sit back down I would probably fall right off that rock.

And that is when I realized I was not going to be able to do this, and tears started welling up out of my eyes and I started to cry a little bit.

“I’m going to ruin my makeup, gosh darnitt!” I thought.

Ryan was down below, and he was so nice and just kept telling me “It’s okay Jennifer, if you can’t do it – it’s okay.”

We eventually found a spot for me where I could lean against a boulder instead of stand. I still felt dizzy, but at least I felt secure.  This is a shot that Noelle took from below – and probably very similar to what they got on film.  I totally look like the Fiddler on the Roof – haha.

The rock that is directly out in front of me is the ledge where they wanted me to stand. It doesn’t really look that high up from this photo, but trust me – it was.

After this location, we went to another place where they had these crazy looking cacti called “Teddybear Cactus”.   Some of the crew quickly learned that if you touch it, it has these tiny little daggers that embed in your skin like a fishhook – and if you try to yank them out it pulls your skin out from the underneath layers.

Ouch.

We were removing these sharp little thorns with pliers just so we wouldn’t have to touch them with our bare fingers.  But they made for super cool shots for the film ….

I just felt bad for Ivorie, because she was dancing and twirling around these things!  At a couple times, I saw her get inches away from brushing her skin against them.

We filmed our last location at a viewpoint overlooking the valley. It was absolutely gorgeous and the guys were able to get some really great silhouette shots. We also had a little bit of a crowd up there who seemed to really enjoy watching us film (we actually had crowds in all the various locations, but the most people were at the viewpoint).

After we finished wrapping up the final shots, we all celebrated with some sparkling cidar at the viewpoint (and freezing cold!)…

All in all, it was an absolutely fantastic experience that I would do over in a heartbeat. Well, except for climbing the boulders – I probably wouldn’t do that again.  All of the people on this project were so positive, so professional, and just very talented.

Writer/Director:  Ryan K. McNeal

Catering/Assisting:  Becky McNeal

Producer:  Justus Meyer

Videographer:  Jackson Cooper Gango

Location/Assist:  Eric McCoy

Editor:  Alex Jones

Dancer:  Ivorie Jenkins

Makeup/Hair:  Noelle Jensen

Artist:  Jennifer Thomas

The video is expected to be edited and completed sometime within the first couple of weeks in December.  Please subscribe to my YouTube channel to be the first to see it when it’s finished. We will also be releasing a behind-the-scenes video once the official music video releases.

http://www.youtube.com/user/mozart623?feature=mhee

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Winner in the Park City Film Music Festival!

I’m very excited to announce that I won my very first award in a film festival.  Minuet, the short film that I scored the music for last fall, has currently been making the festival circuit around the country. It debuted at its first film festival 2 weekends ago, the Park City Film Music Festival.  This was a particularly exciting festival for me as the entire event is geared around the composers of the films.  They award for the music, but the film itself also wins an award.

I’m very excited to say that my music won a Gold Medal of Excellence in Original Music in a Short Film. Whew – that was a long title!  They give out Bronze, Silver, and Gold and so I was quite excited to learn that I actually received a Gold.  This is very exciting indeed.  I have to say thank you to Ryan McNeal, the director of Minuet, and his crew for making such a beautiful film and for giving me the opportunity to work with them.  I also have to thank my family for their patience while I spent many grueling long hours on the music to get it done on time (and before I popped – as I was 9 months pregnant at the time I finished the music!).  Thanks all!

By the way, you can listen to the score on a previous blog post here.

Minuet Score Revealed

In my recent blog post about the score that I composed for the film “Minuet“, I mentioned that I would eventually get all of the cues posted so that you could listen to the score in it’s entirety.

Well, then I got extremely busy, followed by having a baby, a week later followed by another week in the hospital due to Pancreatis and Pre-Eclampsia…and then finally a break from the craziness.

For the past week and a half I’ve enjoyed being at home (instead of the hospital), I’ve enjoyed not busying myself with music projects and have just enjoyed my two adorable little boys.

Make that three adorable boys if you include this adult sized one too…

Alas, here I am though, albiet with a bit more peace of mind and a lot more energy to do things.  Like post blogs.

So without further adieu, I give you the original score (composed by Jennifer Thomas) to the short film “Minuet” by Ryan McNeal, soon to be debuting in film festivals this Fall. These tracks are unmastered, which is why I don’t feel bad about sharing the full files (otherwise I might have only done clips).

Original Score by Jennifer Thomas
Vocals performed by Poppi London

(Click on a title to listen to the track, it will pop up in your preferred media player)

By the way, Ryan (the director) and I have been still going back and forth about the titles for the cues, which is why it might come up in your player as something else (previously named, temp names, etc.)

When I Loved the Sea

The Sad Waltz
(This track was meant to be heard through an antique grammaphone, and so the track will eventually be “aged” to sound like it is, with all of the cracks and bad quality of an old record player)

A Dream Forgotten

Claire’s Ghost

My Daughter

EliseisGone

Minuet

Film Synopsis:

Cairpre (Frank Heinrich) and his granddaughter Elise (Isabel Machado) live on a shore haunted by the ghost of the granddaughter’s mother (Leann Van Mol).  Afraid of the waters that took his daughter, Cairpre keeps young Elise from the shore.  But when she follows her mother’s voice down to the very shore that claimed her, Cairpre’s world is pitched on end.  He stands to loose the only thing he has to love.

Minuet is a short film intended for festival entry.  It was filmed by a crew of 30 people over four days.  The entire production took nine months.

 Read the diary behind the process of writing this score here.

Diary of a Score: Part 1

Many people have been asking me how the film score is coming that I am composing for Ryan McNeal’s short film Minuet“. I thought I would post a little bit it about what I’ve done so far, and my process through it all.

So far I have watched the rough cut of a film about 5 or 6 times. This cut has the temp music on it. It’s been good to hear what type of music Ryan chose to put in there, but I didn’t want to watch it too many times fearing that my mind would subconsiously learn that that is how it should be.

I recently was able to obtain a cut of the film without any music, which I uploaded into my sequencing software, Sonar Producer 8, and I’ve have viewed this version at least 20 times, with many more viewing sessions to come.

Last week, I went through the film in detail and wrote down any moment where I felt that music was needed (not thinking about the temp music, but just what I felt was needed for the scene). This included writing down specific timestamps on the film for later reference.

For example, for one cue in particular this is what I wrote down:

START 00:06:05:12 – solo piano (to represent lonliness)
00:06:31:22 – Cairpre is on deck and see stuffed animal on beach trail from afar. Need cue to let audience know he sees something.
00:06:34:01 – Goes down the stairs in a hurry, start building intensity in the music but not too much yet.
00:06:52:07 – Starts running, yelling “Elise!”. Music should be fast, intense as he runs.
00:06:58:04 – Elise is standing on beach, there is a sense of danger. Audience needs to feel through the music that she is in danger.
00:07:07:05 – Cairpre runs up to Else and grabs her, she jumps. Music starts to die down.
00:07:18:10 – Claire’s vocal theme starts as Cairpre looks up and around at the beach. Haunting, beautiful music.
00:07:35:23 – Music starts to die down as they walk up the beach. Elise says “I just wanted to see her again.”
END 00:07:41:22 – Music at complete stop. Elise pulls away from Cairpre
Total time: 1 minute, 36 seconds

As you can see, writing down what goes on in the scene at what times creates a map for me for when I compose the music. I will know, for example, that from this time to that time, there needs to be 9 seconds of intense music. Then the next 14 seconds need to dying down and gradually fading out.

With the above notes, I then watched the scene several more times to figure out what I heard in my head as far as the music.

Since the scene starts with Caipre waking up from a dream and then going out onto his deck, I knew that I wanted the music to portray his sense of lonliness and despair since he lost his daughter. The solo piano represents this.

When he sees his granddaughter’s stuffed bunny on the beach, it signals to him that she had snuck out during the night and was somewhere on the beach. So I then started to melt the solo piano into some strings, where the harmonies were tight and intense but not too much yet, because I wanted to save that for a moment happening only several seconds later.

As he picks up the bunny and starts running towards the beach, the music picks up in speed and intensity. I brought in some very short bowed notes on the violins, some longer strings lines from the rest of the orchestra, and some timpani beats and cymbal swells to add to the intensity.

Getting the music to sync exactly with the timing of the scene was difficult, because the “intense” theme I started to develop ended up being too long. I went back and rewrote the section, then adding a key change which shifted the intensity up a notch as well. Then, as Cairpre looks up to see the ghost of his daughter on the beach, the music needed a change there. I felt that the beautiful spirit of Claire needed to be represented by a haunting vocal line. So as Cairpre looks up to see her standing on the beach from afar, you hear a beautiful voice overlaying the strings and piano (which, by the way, the vocals you here on the sample below are just temporary and created using software. They will eventually be replaced by a live voice from a real soprano).

Now, to hear how this all came together, here is the sample of what I came up with.  You can just click on the link and an mp3 will come up momentarily.

Bunny on Beach Cue

The hard part about composing for film, is you might spend a lot of time composing a cue and the director ends up not liking it, or it doesn’t fit the scene.  What you might be hearing in your head may or may not be what the director hears in his/her head for that particular scene.

Ryan loved this cue, however, once they got it synced up to the film, he wasn’t sure that the timing of the climax of the scene matched the timing of the climax of the music.  It is very true that the music can change a scene entirely and it’s got to be timed exactly.

For those who are fans of M. Night Shyamalan films, do you think you would be as greatly affected by the film if the music didn’t have certain cues in it to stir those emotions within you?  For example, in the movie “The Village”, you do not see any danger in the movie until the final moments of the film and yet you are greatly affected emotionally by certain musical and audio cues from the very beginning.

Another cue that I recently worked on, was a scene for where Caipre has a flashback dream.

The cue starts with the tail-end of a scene where Cairpre says goodnight to his granddaughter and closes her bedroom door. She blows out a candle, the screen goes black.  Next you see some ocean waves hitting some rocks on the seashore, and then moves to show Caipre in bed sleeping, apparently experiencing a dream or nightmare.  You then see him have a flashback dream of the moment he found his daughter dead on the beach.  Waves are crashing all around, he looks very much alone and saddened, and full of dispair.  Then, he wakes up suddenly and sits up in bed.

My idea for the music for this scene was to show how haunted Cairpre still is by the passing of his daughter.  My idea was to have the music play in reverse for the flashback.  It sounds misconstrued and nonsensical, which is how dreams are most of the time.  And then the music comes to a complete stop as Cairpre suddenly wakes up.

This was a bit tricky to execute and I tried several different ways to do this.

First I recorded a very basic string section part with some minimal harmonies. I then took that part and reversed it.  This didn’t end up working, because apparently when you reverse string parts they sound exactly the same backwards.  Which, makes sense.  When a bow hits the string it attacks the instrument the same way no matter if it is coming or going.  Whereas, with a piano, the notes are struck with a hammer, thus making the reverse effect much more noticable.  If you think of a piano note being struck and then slowly fading out. If you reverse that, you would get a note that slowly fades in and then ends with a striking.

So I then added a piano part, which knowing it was going to be played in reverse, did not need to make sense or be melodic.  In fact, I added some very off-key notes in there just to see how it would sound.  Upon reversing it, and lining it up with the strings it actually worked quite well.  With the striking of the piano strings, it also created somewhat of a rhythmic pounding nature to the sequence, which I wouldn’t have acheived otherwise with just strings.  I also added some pizzacato notes in the strings for the reverse section as well, which again, you don’t really pick up but you would notice them gone if they were taken out.  At least my ears do.

So you can hear this short cue by clicking the following link:

>> Flashback Dream Sequence <<

I have one other cue that I’ve finished so far and it is the music for the intro to the film.  But I’ll save that to share at some other time.

So far, out of the 9 cues that I counted up that I will need to compose, I have completed these 3.  However, like I said, due to film editing and sequencing, I can’t say these cues are final until they actually cut a final cut of the film.  6 more cues to write.  The film is in line to hopefully be finished by the beginning of September. However I am due to have a baby around the middle of August and so it’s my goal to finish the music for the film by the middle of July if not sooner.

And that’s a rap for this post.  More to come at a later time.

Read “Diary of a Score: Part 2” here.

I’ll be Film Scoring this Summer

So yes, not only will I be finishing up my 3rd trimester making a baby this summer, but film scoring as well.

I’m just creating, creating, creating!  And it feels great, by the way.

Actually the timing could not be any better, because after this baby comes I’ll probably be taking the first few months off to adjust to have two children in the house, and I can’t promise much of any creativity will be coming out of me. So filling the summer with creating music and creating life will be the perfect way to spend it before life gets a tad bit more chaotic. 😉

So the film, “Minuet”, is a short film (about 10 minutes in length). It’s written and directed by student filmmaker Ryan McNeal who is currently a film student at Columbia in Chicago. 

Ryan contacted me a couple of months ago asking if I would be interested in scoring the music for his film.  My first reaction was “Meh, probably not.”  My own experience with student filmmakers has not been the best.  I don’t speak for all student filmmakers obviously, because I know there are some good ones out there. But from my experience thus far (with a few minor exceptions), they usually want you to help them for free (understandable…I remember what it’s like to be a poor college student), and their work is left to be desired.  I have seen some pretty terrible acting, bad props, bad editing, poorly written scripts, and bad very VERY bad audio quality. I’ve even seen typos in the pre-credits – which is astonishing since that is your first impression on your audience right there.

I had learned my lesson a few years ago when after agreeing to allow my music to appear on a few various student films and being so embarrassed by the outcome, that I told myself I would not agree to do any more films unless I first see the actual footage.  Simply reading the scripts was not enough for me anymore. Which, is kind of stressful for a director because they need to line up a composer as soon as possible.  If they wait until after they’ve finished shooting, they’re already in post production and still looking for someone to do the music.

So when Ryan first contacted me, I wrote him back and basically said “Look, I have  a lot of projects going on right now including a new album and some collaborations with other artists.  I really can’t agree to anything until after I see footage from your film. Plus I’m having a baby this summer and have a toddler already.  I’m just plain busy.” 

Except I’m pretty sure my email was much longer, much nicer, and much more tactful than what I just summed up.  Because I really am a nice person.  Really.

Ryan acted as a true professional.  He said he understood where I was coming from. To make a long story short, after many weeks of emails back and forth, updates, screenshots from the footage, and finally getting to see the rough cut of the film today, I have officially agreed to compose the score. 

I have been impressed by his vision.

I have been touched by his art.

And swayed by his professionalism. And yes okay all the schmoozing comments about how lovely my music is and blah blah blah blah.

Plus, I knew the film was good when it made me cry. I mean, yes I’m pregnant and hormonal but honestly I am not a crier.  I think I have cried maybe 3 times during this pregnancy. So I was honestly genuinely touched by Ryan’s film.

I hope that I can do this beautiful film justice.  This will be my first time scoring a film from scratch, and I’m actually really looking forward to it.

So here’s to a summer full of creation!

Universal Sports Promo – YouTube “Fly Away”

Universal Sports finally sent me a copy of the promo the are currently airing for the World Beach Volleyball Championships on NBC Universal Sports.  So here it is!  I think it turned out great, and I think they did a great job editing the song to fit the 30 seconds they had.

Enjoy!

This promo is being aired June 26th – July 5th on NBC Universal Sports Network for the 2009 World Volleyball Championships. It features my song “Fly Away” (by Jennifer Thomas). Learn more: www.jenniferthomasmusic.com

My Music on NBC Universal Sports Network

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My song, “Fly Away”, is currently being featured on a Promo for the World Beach Volleyball Championships on NBC’s Universal Sports Network. Universal contacted me last week saying that they wanted my song in their music library, but I was surprised when one of the producers told me they wanted to use it within a matter of days for a promo spot.
It’s being aired multiple times daily between June 26th – July 5th. I have actually yet to see it, but if you do catch it – let me know how it is. It’s not on their website, but rather on their TV channel. If you go to their website and type in your zip code, it will let you know what channel your area airs the network. Or if send me a copy of it if you are somehow able to TIVO it/YouTube it. jennifer@jenniferthomasmusic.com