Three years ago a director friend asked us to score her twelve-minute short. We said yes before asking what it paid — it paid in sandwiches — and it changed how we make albums.
A film is a set with no crowd noise
A headline set runs on arcs: the cold open, the slow build, the singalong, the encore that leaves them hoarse. A short film wants exactly the same shape, just whispered. We started mapping cues like setlists — opener, turn, peak, walk-off — and directors kept telling us the music "edited itself."
What film gave back to the records
Scoring taught us silence. "Last Train Home" has a sixteen-bar stretch with almost nothing in it — a choice we'd never have had the nerve to make before watching an audience lean into a quiet scene.
Want us on your picture?
We take on a handful of shorts and indie features a year — original themes, full cues, festival mix included. If your story needs a pulse, send the script and the rough cut.
