SELECTED WORKS
RECENT PROJECTS
Space Marine II
Saber Interactive / Focus Entertainment
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Recorded At: Village Studio, Santa Monica
When I first started thinking about the music for Warhammer 40,000: Space Marine 2, the idea was to build something that felt less like an orchestra and more like an army. The Warhammer universe is massive, brutal, and almost religious in its intensity, so the music needed to carry that same weight. I kept coming back to the image of thousands of voices and instruments moving together like a single force.
To achieve that scale, I worked with incredible musicians and began layering performances in unconventional ways. We recorded sessions that were designed to be manipulated later, almost like building a library of raw material that could be expanded far beyond the original performances. Those recordings were sampled, stretched, and multiplied until the sound felt enormous. Low brass became the backbone of the score, giving it a heavy, almost mechanical gravity, and on top of that we built a choir made entirely of baritone and bass voices. The goal was to create what I kept thinking of as a “fist of sound” — dense, powerful, and relentless.
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Saber Interactive
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Producer: J.J. Abrams, Jon Cohen, Hannah Minghella
Staring: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Asha Bateman, Matt Craven
Recorded at: Village Studio D, Santa Monica CA, Zoo Creatives CT.
When I first sat down with Anna Foerster to talk about the score for Lou, the conversation quickly centered around restraint. The film lives in a quiet emotional space but carries a constant sense of danger beneath the surface. The music needed to feel intimate and human, while still supporting the tension of a survival story unfolding in the wilderness.
We wanted the score to move almost like the landscape itself — patient, cold, and quietly watching the characters. I leaned into a palette of low strings, analog synth textures, and sparse melodic ideas that could slowly build pressure without overwhelming the story. The goal was to let the music breathe with the film, allowing the emotional moments to feel fragile while the tension gradually tightens around the characters.
WATCH LOU RECORDING SESSIONS:
Quantic Dream / Lucasfilm Games
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Producer: Quantic Dream
Audio Director: Mary Lockwood, Aurélien Baguerre
When I was first approached about Star Wars Eclipse, the challenge was clear from the beginning: the music needed to live inside the Star Wars universe while introducing a world that audiences had never heard before. The story takes place in a part of the galaxy that feels culturally vast and unfamiliar, so the score had to reflect that sense of scale and diversity.
I began thinking about the music as a meeting point of different traditions and sonic identities. We explored instruments and rhythmic languages from around the world, bringing together elements like Japanese taiko drums, Indian tutaris, rhythmic ideas inspired by Southeast Asia, and other global textures. The goal was not simply to layer exotic sounds, but to shape them into something cohesive that still felt cinematic and unmistakably part of the Star Wars mythos. It became a balance between honoring the legacy of the universe and carving out a completely new sonic landscape within it.
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Recorded with the Budapest Orchestra
Conducted by Peter Ilényi
Butterflies began with the idea of the monarch butterfly migration and the quiet mystery behind it. Every year these fragile creatures travel thousands of miles across continents, guided by something we still barely understand. What fascinated me most was the thought that after such long journeys and long stretches of time, they are somehow able to find one another again.
The piece grew out of that idea of distance, memory, and reunion. I wanted the music to feel delicate and searching at first, almost like something carried by the wind, before gradually opening into something warmer and more hopeful. It became a reflection on connection — the quiet pull that brings two paths back together even after they have traveled very far apart.
Ubisoft
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Producer: Ubisoft Bordeaux
When I first began working on Assassin’s Creed Mirage, the goal was to imagine the musical world of Baghdad during the Islamic golden age. The city at that time was one of the world's great cultural centers, and the music needed to reflect a place that was vibrant, intellectual, and alive with diverse traditions. From the beginning, the conversation was about authenticity and atmosphere, creating a sound that could place the listener directly inside that world.
I worked closely with incredible musicians from the region, exploring traditional instruments and performance styles that could form the foundation of the score. The process became about building a musical language that felt rooted in history while still carrying the cinematic scale demanded by the Assassin’s Creed universe. By combining authentic instruments, regional musical ideas, and modern scoring techniques, the goal was to create a soundscape that could evoke the spirit of Baghdad during the Islamic Golden Age while supporting the adventure and mystery of Basim’s story.
BEHIND THE MUSIC:
Peacock / Miramax / Blumhouse
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Producer: Kevin Williamson
Starring: Gideon Adlon, Bethlehem Million
Recorded At: Village Studio D
When I first started thinking about the music for Sick, the film’s connection to COVID and illness immediately shaped the sonic direction. The story carries an undercurrent of anxiety tied to breath, proximity, and the invisible threat of infection. I wanted the music to live inside that physical sensation, something that felt fragile and unsettling, almost like the sound of breathing itself becoming part of the score.
The palette for the music grew out of that idea. I focused heavily on breathy textures and airy sounds, building a world that feels tense but intimate. To achieve that, we assembled an ensemble centered around bass clarinets and low woodwinds, eventually creating a group of fifteen bass players performing together. The depth of those instruments, combined with the breath in the performances, produced a sound that felt both heavy and fragile at the same time, almost like the air in the room was part of the tension.
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Girl and Her
Monster
RLJE Films / Shudder
Producer: Lenore Zerman, John Church, Bomani J. Story
Key Performers: Laya DeLeon Hayes, Denzel Whitaker, Chad L. Coleman
Recorded At: Zoo Creatives CT
When I first began thinking about the music for The Angry Black Girl and Her Monster, the core idea was clear: at its heart, this is a modern Frankenstein story. The film blends the language of classic horror with the reality of an inner city world, and the score needed to move between those two spaces. It had to feel grounded in the emotional isolation of the character while still carrying the sense of myth and tragedy that lives inside the Frankenstein tradition.
The music became a reflection of that tension. I leaned into symphonic elements that could give the story a larger, almost tragic scale, while shaping the themes around the loneliness and determination of the girl at the center of the film. The orchestral palette allowed the score to feel both intimate and cinematic, supporting a story that lives somewhere between fantasy, horror, and a deeply personal coming of age journey.
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Becky
Quiver Distribution
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Producer: Yale Productions
Key Performers: Lulu Wilson, Seann William Scott
When I returned to the world of Becky for The Wrath of Becky, the idea was to push the musical identity of the first film into something even more extreme. The original score had a very specific energy built around chaos, aggression, and a kind of twisted playfulness. For the sequel, I wanted to take that musical language and collide it with something completely different.
One of the central ideas became the introduction of an operatic element that exists almost in opposition to the violence and unpredictability of Becky’s world. Against the bombastic screams, distorted textures, and the strange toy instruments that defined the first film, the opera adds a dramatic and almost theatrical counterpoint. Brass also became an important layer, giving the score moments of weight and scale while still keeping the music unpredictable and slightly unhinged, much like the character herself.
BEHIND THE SCORING SESSION:
Quantic Dream / Balenciaga
This project was a wonderful opportunity to collaborate once again with the team at Quantic Dream on a striking piece created for Balenciaga. From the beginning, the focus was on matching the elegance and intensity of the animation, which blends sculptural visual design with modern dance performance. The music needed to move with that physicality, supporting the rhythm and motion of the dancers while still carrying a strong cinematic identity.
The score was built around the idea of movement and tension, allowing the music to evolve alongside the choreography and the visual language of the piece. The goal was to create something that felt contemporary and expressive, reflecting both the bold aesthetic of Balenciaga and the fluid, almost hypnotic energy of the animation and modern dance.
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