News and Updates

A few months ago, I had the pleasure of working with the Boston Pops on a suite from Arcane for violinist Ray Chen. Ray is featured on the original soundtrack, and I was given his parts along with Michael Barry’s original string orchestrations. The score also featured multiple string passes, synths, and programming, which I recreated for the orchestra. Thanks to Pano Fountas for the awesome transcriptions. It was a challenging arrangement with very limited rehearsal time, but the orchestra, led by Keith Lockhart, absolutely…
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The Sheep Detectives is out! Congrats to Christophe Beck, and thanks for having us on board for another awesome score.Go check it out if you haven’t seen it yet. It was a lot of fun working on this one and bringing Christophe’s music to life.Huge thanks to my team, Jeremy Levy, Lorenzo Carrano, Ryan Humphrey, Pano Fountas, and the crew at JoAnn Kane Music, for all their work pulling everything together.Recorded by C. Stone at AIR Studios in London and coordinated by the studio queen…
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It was a pleasure to collaborate with Justin Ellis and the National Symphony Orchestra on a new show for Lizzo at Wolf Trap.This was my 15th time working with the NSO, but my first time at Wolf Trap. There’s always a fine line with these shows; trying to do something different and original while working with limited time to write and rehearse. I think everyone really nailed it.Huge thanks to Jeremy Levy, Jochen Neuffer, and Lauren Elizabeth Baba for helping with the charts, and to…
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Hoppers is out and off to a fantastic start at the box office. Chuffed to have been involved in another score by Mark Mothersbaugh. It was great to meet and hang with director Daniel Chong during the sessions and hear about the process of making the film. It’s amazing how much time goes into creating one of these. As usual, it was a huge team effort. Jeremy Levy, Lorenzo Carrano, Pano Fountas, Ryan Humphrey, and Jordan Siegel all delivering as always. Thanks as well to Sunna…
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Go see EPiC.The score for Moulin Rouge! had a huge impact on how I write and arrange, so getting the chance to work on a new project with Baz Luhrmann was a dream come true. I was brought in to transcribe the original orchestral parts and help re-record the orchestra. The music existed on tape, but the recording itself wasn’t usable, so we rebuilt it from the ground up. I also orchestrated the underscore for Elliott Wheeler and arranged some string parts for producer Omer…
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War Machine is streaming on Netflix and has hit #1! I had a lot of fun orchestrating the fantastic score by Dmitri Golovko. Huge thanks to Hillary Holmes and Celeste Chada for the introduction and for bringing me onto the project. An extra highlight was heading back to Australia to record the score at Trackdown Studios with my Aussie friends. Thanks as always to the crew who helped pull everything together- Jeremy Levy, Pano Fountas, Ryan Humphrey, and to Jess G. Wells for being there as…
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Just before Christmas I got a call from Joel Farland, who is the Musical Director for the ABC New Year’s Eve show in Sydney. They were going to have a moment of silence at 11pm to remember the victims of the recent Bondi attacks and needed something special to lead out of it. There were lots of messages and meetings as we all tried to think of the right song. It was decided that it should be INXS’s Never Tear Us Apart. The brief was to keep it…
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I had the pleasure of arranging jazz songs for the radio soundtrack of Outer Worlds 2. Working on tunes by my friend Jim Bonney, who brought me on board, was an absolute blast. The soundtrack is now out on all streaming platforms and has been getting fantastic reviews. Thanks to Tony Blackwell, who composed many of the songs and led the vision for the radio soundtrack, to Jeremy Levy for his help with arrangements, to the musicians, and to everyone else who helped bring this massive…
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It was a blast working with Sarah Schachner on Predator: Badlands. She has a very unique voice and style, often playing nearly everything herself on synths, strings, or anything else she can find.Instead of doubling up all of that with orchestra, this time Sarah suggested we use the orchestral ensemble as a bed under her performances. It was a brilliant idea and it created a sound no one else in this business makes. Thanks for having me on board again, Sarah, and shout‑out to Kyle…
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I had a blast orchestrating Jeremiah Fraites' score for this awesome movie. His music really carries the heart of the story and it was a pleasure to help bring it to life.
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