| Working for films has always been an enigmatic experience for me. In one hand, I made myself a strong believer of Music as probably the most 'visual' artform, one that hardly ever needed fabricated visuals, because of its inherent ability to let everyone generate one's own images. Music easily surpasses any other artform, litterature included, in making the listener a perpetual and constantly innovative 'inner-movie' maker.
In the other hand, it would be foolish to deny the key role of a great score in any great movie. The film composer has that daunting task of embracing the director's vision in order to be saying without telling, expressing without sublining, linking without tie-ing, present and unobtrusive all at the same time. Always dealing with square circles. Probably one of the most rewarding and frustrating position. Permanently contradictory. I don't know of any real 'happy' film composer ...
It took me quite some time to figure out whether I wanted to have a regular career in it or not, as I felt that 'composing' and 'movie composing' were not just two different jobs, but almost as opposed to each other as fire and water. Hence the relatively small number of films I did score for. But I suppose it could take just to meet the 'right' director with the 'right' project for me to see things differently.
Pieces or songs written or produced by me (other than regular score) were also featured in the following movies, to my knowledge:
_ 'Keys' in Blaine Novak's "Good to Go".
_ 'Daydreaming (Blacksmith Remix for Massive Attack)' in Gregg Araki's "Nowhere".
_ 'Ayers Rock' in Gaston Kabore's "Rabi".
_ 'Mambo' in popular "Grand Theft Auto 4" video game.
_ 'Something About You' (Level 42) in Nigel Dick's "P.I. Private Investigations".
_ 'I've seen that face before' (Grace Jones) in Roman Polanski's "Frantic".
_ The whole of "Words Of A Mountain" was used as soundtrack for Jean-Paul Jaude TV-documentary.