From an early age, I always had a strong passion for music. In fact, growing up, I really wanted to be a music conductor.
But, not long after, I realized that the sound designer is actually our modern time conductor, as he controls every aspect of the overall sound and decides how a certain piece should actually be perceived: from the final mix, down to the fine-tuning of a frequency.
Studying and working in different sound-oriented practices, learning music theory, and playing different instruments, has allowed me to be able to tell a complete story through sound - from the early stage of recordings to the final stage of mixing.
Today, being both the sound designer and the composer for different platforms gives me the pleasure of the full experience I was looking for.
The fact that every story has it's his own unique needs, and the many paths I can take to make that story even more special, make this practice undoubtedly the most satisfying thing I - as a sound designer and a composer - can do.
For my film The Composer, the soundtrack editor had one of the most important roles. Because the film is an independent film with a low budget, and it was filmed mostly in one location, it was required to invent a whole world of sound. After we tried several soundtrack editors we had to come to a decision. Working with Dean was fascinating. He had great attention to detail, and precise interpretation of the film’s requirements while understanding my wishes as a director, with full consideration for the composer and the music of the film and its intensity. Dean put his heart into the project and can indeed be heard throughout the film.
I will surely continue to work with Dean in my next films and it is clear to all of us in the production of the film The Composer.
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