{"id":209056,"date":"2022-08-02T15:00:50","date_gmt":"2022-08-02T15:00:50","guid":{"rendered":"https:\/\/compozly.com\/blog\/?p=209056"},"modified":"2023-08-09T14:52:35","modified_gmt":"2023-08-09T14:52:35","slug":"film-composer-showcase-david-denyer","status":"publish","type":"post","link":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/","title":{"rendered":"Film Composer Showcase: David Denyer"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;HERO SECTION&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#333333&#8243; use_background_color_gradient=&#8221;on&#8221; background_color_gradient_type=&#8221;elliptical&#8221; background_color_gradient_stops=&#8221;#333333 74%|#34d6b7 99%&#8221; custom_margin=&#8221;||7px|||&#8221; custom_padding=&#8221;60px||60px|||&#8221; box_shadow_style=&#8221;preset3&#8243; box_shadow_horizontal=&#8221;-26px&#8221; box_shadow_blur=&#8221;36px&#8221; box_shadow_spread=&#8221;-28px&#8221; box_shadow_color=&#8221;#686868&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;2_5,3_5&#8243; admin_label=&#8221;Hero&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;2_5&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_image src=&#8221;https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/David-Denyer-150&#215;150.jpeg&#8221; alt=&#8221;Film Composer David Denyer &#8211; Profile Image&#8221; title_text=&#8221;Film Composer David Denyer&#8221; align=&#8221;center&#8221; align_tablet=&#8221;left&#8221; align_phone=&#8221;center&#8221; align_last_edited=&#8221;on|tablet&#8221; admin_label=&#8221;IMAGE: Add profile image here&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; animation_style=&#8221;slide&#8221; border_radii=&#8221;on|100px|100px|100px|100px&#8221; border_width_all=&#8221;5px&#8221; border_color_all=&#8221;#FFFFFF&#8221; box_shadow_style=&#8221;preset1&#8243; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][\/et_pb_column][et_pb_column type=&#8221;3_5&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_post_title title=&#8221;off&#8221; author=&#8221;off&#8221; date=&#8221;off&#8221; comments=&#8221;off&#8221; featured_image=&#8221;off&#8221; text_color=&#8221;light&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; meta_font=&#8221;|700|||||||&#8221; meta_font_size=&#8221;16px&#8221; animation_style=&#8221;slide&#8221; text_orientation_tablet=&#8221;&#8221; text_orientation_phone=&#8221;center&#8221; text_orientation_last_edited=&#8221;on|phone&#8221; meta_text_shadow_style=&#8221;preset1&#8243; text_shadow_style=&#8221;preset2&#8243; global_colors_info=&#8221;{}&#8221;][\/et_pb_post_title][et_pb_text content_tablet=&#8221;<\/p>\n<h1>David Denyer<\/h1>\n<p>&#8221; content_phone=&#8221;<\/p>\n<h1 style=%22text-align: center;%22>David Denyer<\/h1>\n<p>&#8221; content_last_edited=&#8221;on|phone&#8221; admin_label=&#8221;TEXT: Add Composer Name Here&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; text_text_color=&#8221;#FFFFFF&#8221; header_font=&#8221;|800|||||||&#8221; header_text_align=&#8221;left&#8221; header_text_color=&#8221;#FFFFFF&#8221; header_line_height=&#8221;1.5em&#8221; background_layout=&#8221;dark&#8221; custom_margin=&#8221;-14px||25px|||&#8221; custom_padding=&#8221;0px|||||&#8221; animation_style=&#8221;slide&#8221; header_text_align_tablet=&#8221;left&#8221; header_text_align_phone=&#8221;center&#8221; header_text_align_last_edited=&#8221;on|desktop&#8221; header_text_shadow_style=&#8221;preset1&#8243; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h1>David Denyer<\/h1>\n<p>[\/et_pb_text][et_pb_button button_url=&#8221;https:\/\/compozly.com\/DavidDenyer&#8221; button_text=&#8221;View Profile&#8221; button_alignment=&#8221;left&#8221; button_alignment_tablet=&#8221;left&#8221; button_alignment_phone=&#8221;center&#8221; button_alignment_last_edited=&#8221;on|phone&#8221; admin_label=&#8221;BUTTON: Add link to Compozly profile here&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; custom_button=&#8221;on&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_border_radius=&#8221;23px&#8221; button_font=&#8221;|700|||||||&#8221; button_icon=&#8221;&#x24;||divi||400&#8243; button_icon_color=&#8221;#34D6B7&#8243; background_layout=&#8221;dark&#8221; animation_style=&#8221;slide&#8221; global_colors_info=&#8221;{}&#8221; button_text_size__hover_enabled=&#8221;on|desktop&#8221; button_text_color__hover_enabled=&#8221;on|desktop&#8221; button_text_color__hover=&#8221;#34D6B7&#8243;][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;SECTION: Q&#038;A 1&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row admin_label=&#8221;Q&#038;A (1\/3)&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text content_tablet=&#8221;<iframe src=%22https:\/\/anchor.fm\/compozly\/embed\/episodes\/EP06-Composer-Interview---David-Denyer-e1l9ilg%22 height=%22102px%22 width=%22100%%22 frameborder=%220%22 scrolling=%22no%22><\/iframe>&#8221; content_phone=&#8221;<iframe src=%22https:\/\/anchor.fm\/compozly\/embed\/episodes\/EP06-Composer-Interview---David-Denyer-e1l9ilg%22 height=%22102px%22 width=%22100%%22 frameborder=%220%22 scrolling=%22no%22><\/iframe>&#8221; content_last_edited=&#8221;on|phone&#8221; admin_label=&#8221;Podcast Episode&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||14px|||&#8221; custom_padding=&#8221;||0px|||&#8221; global_colors_info=&#8221;{}&#8221;]<iframe loading=\"lazy\" src=\"https:\/\/anchor.fm\/compozly\/embed\/episodes\/EP06-Composer-Interview---David-Denyer-e1l9ilg\" height=\"150px\" width=\"100%\" frameborder=\"0\" scrolling=\"no\"><\/iframe>[\/et_pb_text][et_pb_text admin_label=&#8221;Question 1&#8243; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>How did you first get into composing?<\/h3>\n<p>I first got into music as a performer. I did my undergraduate in violin performance. I don&#8217;t know if I could say I got very good at the violin, but I got good enough that I felt like I was playing the pieces that I liked and that I admired.<\/p>\n<p>Eventually I got really deep into composing in my undergraduate. To the point where I actually did my final year as a joint major between composing and performing, where I wrote my own violin <span>concerto<\/span>. Coming off the back of that, I decided that I really wanted to do film work, not for any kind of stylistic reason, but more because I also really love film.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-209061 size-large\" src=\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/David-Denyer-1024x1024.jpeg\" alt=\"Film Composer David Denyer - Profile Image\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/David-Denyer-980x980.jpeg 980w, https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/David-Denyer-480x480.jpeg 480w\" sizes=\"auto, (min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1024px, 100vw\" \/><\/p>\n<p>I really love artfully made films. I love David Lynch, Stanley Kubrick, <span>Jodorowsky<\/span> and all of these creatively made films. I felt like it was a very natural place for me to want to go, so I did my master&#8217;s degree at the <a href=\"https:\/\/www.rcm.ac.uk\/\" target=\"_blank\" rel=\"noopener\">Royal College of Music<\/a> in film scoring.<\/p>\n<p>I learned how to record. I learned how to mix. A lot of stuff in terms of production that really influenced my way of working. So now every project I work on I&#8217;ll always have live strings in it. Working at the RCM with live orchestras and recording almost exclusively live players really gave me a taste of the advantages of working with live musicians versus sample libraries.<\/p>\n<p>Once I graduated in 2015, I spent between then and 2020 composing for theater.\u00a0It was just that was the work that naturally seems to accommodate my style and the work e. And that&#8217;s the kind of stuff that really excites me and the fringe theater scene in London and like the avant garde kind of fringe theater world.<\/p>\n<p>So I&#8217;ve got a few gigs coming up here and there at the moment in the theater, but I&#8217;m really sort of at the moment trying to refocus back towards film just because it survived COVID <span>whereas theatre, in many ways, didn&#8217;t<\/span>.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Question 2&#8243; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>What is your process composing music for film versus theater?<\/h3>\n<p><span style=\"font-weight: 400;\">Composing for theater is actually much more similar to composing for video games. The reason being that a theater performance is never the same night to night, so you can&#8217;t have a queue that&#8217;s exactly two minutes and 12 seconds long with a hit point at the end, because you don&#8217;t know if that scene is going to take a bit longer this day or a bit shorter that day. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Typically in theater you&#8217;ll have someone sitting behind a computer and they&#8217;ll be hitting the cues <\/span><span style=\"font-weight: 400;\">they&#8217;ll be handling lots of cross fades and there&#8217;ll be loops and there&#8217;ll be certain stingers that happen on certain cues. You&#8217;re designing a system that&#8217;s kind of versatile that can be pushed and pulled around the performances of a cast that might forget a line or might add a line.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In terms of film, the difference is in the specificity of the synchronicity. There is a certain degree of synchronicity that is a baseline requirement in film. <\/span><span style=\"font-weight: 400;\">Where certain big moments happen. The music has to know that happened. You can&#8217;t just have a five minute long loop happening on top of a complex scene. You need to react to the emotional narrative flow. You need to react to the visual storytelling. You need to react to it.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">All of these little clues that you get about the dramatic flow of this scene, the music needs to feel like it&#8217;s sort of like a leaf sort of flowing along this river of narrative.<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><span>But I would actually argue that the level of synchronicity that you need to score a scene hasn\u2019t actually changed since the &#8216;Mickey-Mousey&#8217; Golden Era Hollywood days.\u00a0It\u2019s just that the way you react to those moments<\/span> is a lot more subtle. It&#8217;s all about reading the scene, understanding the filming language, understanding all of these editing decisions and cinematography decisions and the lighting decisions and grading decisions and all of those feed into your understanding of everything.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The way that a filmmaker wants this scene to feel and to look and how the flow shifts over time. You can&#8217;t really do that with theater. Theater is a lot more like Lego blocks of sounds that fade into each other.<\/span><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Question 3&#8243; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>What has your experience been collaborating with filmmakers?<\/h3>\n<p>The vast majority of directors I&#8217;ve worked with are non-musicians. I think that that&#8217;s generally true across the industry.<\/p>\n<p>Of course, that&#8217;s not a judgment. They didn&#8217;t train in music, so they don&#8217;t necessarily understand the terminology that you\u2019re using. A lot of the time they&#8217;ll say things like, &#8220;I don&#8217;t like that clarinet.&#8221; or &#8220;I don&#8217;t like that instrument.&#8221;<\/p>\n<p>What they really mean is that they don&#8217;t like that melody and they&#8217;ve kind of jumped on the instrument as the problem, rather than the melody, That&#8217;s a little abstracted from what they actually mean, just because they haven&#8217;t quite got the vocabulary to express that.<\/p>\n<p>I try to talk with filmmakers on a very emotional level on a very kind of intuitive level. It&#8217;s easy to get analytical about it and to be hyper specific. I don&#8217;t think filmmakers generally tend to get on that well with that.<\/p>\n<p>They don&#8217;t see music in that way. They don&#8217;t tend to see it in a very analytical or scientific or mathematical way. They tend to view it in a much more immediate, emotional, intuitive way. And that&#8217;s normally how it sounds and feels, but they don&#8217;t quite have the insight to realize that it&#8217;s actually made with the same degree of technical specificity as the camera work or the lighting.<\/p>\n<p>So I try to talk with them on an emotional level. I&#8217;ll ask them about characters and how the audience is supposed to be feeling.<\/p>\n<p>I find these kinds of slightly abstracted questions tend to get the best outcomes I do like to work with, shared Spotify playlists to build a library of reference material. I try not to lean on that too hard. I generally don&#8217;t like to add temp music into scenes because it presents a slightly inauthentic picture of what the final result will be.<\/p>\n<p>Again, filmmakers are not musicians. If you send them a film with music in ti, they&#8217;ll feel it very directly. If that music is going to change, then you&#8217;re introducing an obstacle into that process of developing the work.\u00a0<\/p>\n<p>I haven&#8217;t yet worked with a filmmaker that really knows music. No doubt one day that will happen, but for now it&#8217;s almost like being a doctor seeing a patient. They give you symptoms and you have to figure out what&#8217;s going on and prescribe them drugs.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;SECTION: QUOTE 1&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#f2f2f2&#8243; custom_padding=&#8221;40px||40px|||&#8221; box_shadow_style=&#8221;preset3&#8243; box_shadow_horizontal=&#8221;-26px&#8221; box_shadow_blur=&#8221;36px&#8221; box_shadow_spread=&#8221;-28px&#8221; box_shadow_color=&#8221;#686868&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row admin_label=&#8221;ROW: Quote 1&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;RGBA(255,255,255,0)&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text admin_label=&#8221;TEXT QUOTE 1: Add quote text here&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;||on||||||&#8221; header_text_align=&#8221;center&#8221; header_font_size=&#8221;33px&#8221; header_line_height=&#8221;1.5em&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<blockquote>\n<h1><em>&#8220;<span style=\"font-weight: 400;\">Composing for film is almost like being a doctor and seeing a patient. They give you symptoms and you have to figure out what\u2019s going on and prescribe them drugs.<\/span>&#8220;<\/em><\/h1>\n<p style=\"text-align: center;\"><strong>&#8211; David Denyer | London-based film Composer<\/strong><\/p>\n<\/blockquote>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;SECTION: Q&#038;A 2&#8243; _builder_version=&#8221;4.17.3&#8243; background_color=&#8221;#ffffff&#8221; custom_padding=&#8221;||21px|||&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row admin_label=&#8221;TEXT: Q&#038;A (2\/3)&#8221; _builder_version=&#8221;4.17.3&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;Question 4&#8243; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>What is your approach for finding paying film projects?<\/h3>\n<p>That&#8217;s a good question at the moment. I&#8217;m trying very hard not to be that guy that you always see constantly spamming every filmmaking group with their showreel, because I&#8217;m convinced that they don&#8217;t get any work. It might work for some people sometimes, but it didn&#8217;t seem like that was an appropriate route.<\/p>\n<p>For me, this was trying to develop a strategy over the COVID period. It was like, I was basically doing first-hand market research to see what strategies work. I found that the best way was to message people privately rather than publicly and message people whose work I&#8217;ve seen.<\/p>\n<p>Rather than just message a random person who says they&#8217;re a filmmaker, I have to have seen their work. I have to have something to say about their work &#8211; which is beneficial for two reasons; The first reason is that it means that they want to have a conversation with me because everyone is self-conscious about their work and they always want to\u00a0have conversations about their work.<\/p>\n<p>Secondly, it means that I&#8217;m only contacting people that I know what kind of work they do, and that I&#8217;ve judged that it&#8217;s appropriate. if I&#8217;m just spamming everyone with my showreel, I might be messaging someone who only does romantic comedies &#8211; which is not what I do.<\/p>\n<p>A lot of the time it&#8217;s difficult to get a phone number for some of these people. There&#8217;s a part of me that instinctively feels like if I call somebody up and they&#8217;re getting bothered by composers all the time, then you set that relationship up on a slightly negative basis,<\/p>\n<p>I prefer a more welcome invitation into their life, rather than being somewhat invasive.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Question 5&#8243; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>What is your approach to networking with filmmakers?<\/h3>\n<p>This is a bit of a kind of fool&#8217;s errand, but I scroll through the crowdfunding sites to see what films are currently crowdfunding and the ones that haven&#8217;t yet got a composer listed. It&#8217;s often not a bad idea to message them.<\/p>\n<p>I also scroll through Facebook groups and indie filmmaking groups. There&#8217;s lots of people sharing their work and their crowdfunding pages, but I don&#8217;t believe any of them are dedicated communities. I think they&#8217;re very big notice boards where people just put their things up. Some people might interact, but there&#8217;s no sense of community being driven there.<\/p>\n<p>That&#8217;s a good way of knowing that someone&#8217;s in the process of funding something, which means that they&#8217;re at an early enough stage that they might be receptive to hearing from a composer<\/p>\n<p>I&#8217;m also a member of the London horror society, which is a really cool little group of people who just love horror and people who make podcasts and films and TV shows and things like that.<\/p>\n<p>I&#8217;ve managed to make a few good connections there. I also have a lot of contacts from the theater industry. So there&#8217;s a fair amount of crossover, at least in the technical industries.<\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Question 4&#8243; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>What defines your musical sound?<\/h3>\n<p>I tend to work fairly non-traditional. Strictly in terms of orchestras. I very much can write for orchestra and I have done, I would say I&#8217;m a proficient orchestrator, but when it comes to my own compositions, I tend to use instrumental combinations, quite liberally.<\/p>\n<p>It&#8217;s quite rare for my work to just sound like an orchestra in a room, but rather to sound in some way expanded, shrunk or stretched just through the ways that I record these instruments. It&#8217;s interesting how if you record 36 violins and violas all as overdubs, which I&#8217;ve done quite a lot, it sounds different to a string orchestra.<\/p>\n<p>This over-dubbing technique creates a really kind of a very particular quality that it&#8217;s really hard to put into words and I think it makes it sound quite sort of unusual.<\/p>\n<p>I do lean into unusual sounds and I think that I like to do a lot with a little, so I tend not to have very long melodies or very elaborate sequences. I&#8217;m very keen on using small fragments to make them sound really interesting somehow.<\/p>\n<p>I think my particular way of recording, the use of live instruments in a non-traditional kind of production style are the things that make me sound unique.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Composer Interview: David Denyer  - The Compozly Podcast\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/xJ2fh7YIX80?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Resources&#8221; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;||||||||&#8221; text_line_height=&#8221;2em&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;left&#8221; header_3_line_height=&#8221;1.5em&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;10px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>Resources<\/h3>\n<ul>\n<li><a href=\"https:\/\/compozly.com\/DavidDenyer\">David&#8217;s Composer Profile<\/a><\/li>\n<li><a href=\"https:\/\/www.rcm.ac.uk\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">Royal College of Music<\/span><\/a><\/li>\n<li><a href=\"https:\/\/londonhorrorsociety.co.uk\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">London Horror Society<\/span><\/a><\/li>\n<\/ul>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;Q&#038;A 3&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;21px|||||&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row admin_label=&#8221;TEXT: Q&#038;A (3\/3)&#8221; _builder_version=&#8221;4.17.3&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_social_media_follow follow_button=&#8221;on&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; text_orientation=&#8221;center&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_social_media_follow_network social_network=&#8221;facebook&#8221; url=&#8221;https:\/\/www.facebook.com\/compozly&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#3b5998&#8243; global_colors_info=&#8221;{}&#8221; follow_button=&#8221;on&#8221; url_new_window=&#8221;on&#8221;]facebook[\/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network=&#8221;instagram&#8221; url=&#8221;https:\/\/www.instagram.com\/compozly\/&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#ea2c59&#8243; global_colors_info=&#8221;{}&#8221; follow_button=&#8221;on&#8221; url_new_window=&#8221;on&#8221;]instagram[\/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network=&#8221;twitter&#8221; url=&#8221;https:\/\/twitter.com\/compozly\/&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#00aced&#8221; global_colors_info=&#8221;{}&#8221; follow_button=&#8221;on&#8221; url_new_window=&#8221;on&#8221;]twitter[\/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network=&#8221;linkedin&#8221; url=&#8221;https:\/\/www.linkedin.com\/company\/compozly\/&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#007bb6&#8243; global_colors_info=&#8221;{}&#8221; follow_button=&#8221;on&#8221; url_new_window=&#8221;on&#8221;]linkedin[\/et_pb_social_media_follow_network][et_pb_social_media_follow_network social_network=&#8221;youtube&#8221; url=&#8221;https:\/\/www.youtube.com\/channel\/UC_3eFSVrLj5cYWx6K9C5kkg\/featured&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#a82400&#8243; global_colors_info=&#8221;{}&#8221; follow_button=&#8221;on&#8221; url_new_window=&#8221;on&#8221;]youtube[\/et_pb_social_media_follow_network][\/et_pb_social_media_follow][et_pb_toggle title=&#8221;Full Audio Transcript&#8221; use_icon_font_size=&#8221;on&#8221; icon_font_size=&#8221;24px&#8221; admin_label=&#8221;TOGGLE: Add Audio Transcripts Here&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#f2f2f2&#8243; border_radii=&#8221;on|10px|10px|10px|10px&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><b>So, how did you first get into composing?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">So I first got into music as a performer. I did my first degree, my undergraduate in violin performance. I did that at a music college, and I sort of had high hopes of getting very good at the violin. I don&#8217;t know if I could say I got very good at the violin, but I got good enough that I felt like I was playing the pieces that I liked and that I admired and I was sort of able to imitate some of the techniques of the players that I really admired as well. But I guess I&#8217;ve always felt a little bit like just doing the thing is not quite enough. I always want to understand how it works. So I got really deep into the analytical side of music.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And eventually just got really deep into composing in my undergraduate. To the point where I actually did my final year as a joint major between composing and performing, where I wrote my own violin parts out, which is really, really cool. But then coming off the back of that, I decided that I really wanted to do film work, not for any kind of stylistic reason, but more because I also really love film.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And I really love very sort of artfully made films. I love David Lynch and Stanley Kubrick and Todd Roski and all of these kinds of like artfully and craftfully made films. And I really love the way that music interacts with those kinds of films. And I kind of felt like it was a very natural place for me to want to go.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So I did my master&#8217;s degree at the Royal college of music in film scoring. I went there for three years and that was fantastic. And what I found was that having done a degree in violin performance and trained on the Viola as well not only did that mean I could write really, really appropriate string music, much more fluently than a lot of the other people in my course could naturally, but also I got really deep into recording as part of my process.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So I learned how to record. I learned how to mix. A lot of stuff in terms of production that really influenced my way of working. So now every project I work on I&#8217;ll always have live strings in it. Or maybe if they don&#8217;t have strings, I&#8217;ll have some live instruments. And working at the RCM with live orchestras there and recording almost exclusively live players really gave me a taste of the advantages of working with live musicians versus sample libraries. I mean, you know, you have to learn how to use sample libraries.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">You can&#8217;t get through it without learning how to do that, learning how to do it quite well. And so I can do that, but it&#8217;s like I just get so much more pleasure out of setting up a room for recording and just getting a really expressive performance out of a real instrument. And of course, the other thing is that I obviously know a lot of players now as well.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So really live recording has become just such a fundamental part of my process. And you know, it all comes back to the fact that I was a player myself and that&#8217;s where I&#8217;m at. And then once I graduated in 2015, I spent between then and 2020 composing for theater. Almost exclusively, not for any stylistic or like deliberate reasons.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It was just that, that was the work that naturally seems to accommodate my style and the work I do tends to be quite strange or sometimes dissonant in some ways or unusual, or non-traditional a lot of the time. And that&#8217;s the kind of stuff that really excites me and the fringe theater scene in London and like the avant garde kind of fringe theater world. They really love that kind of stuff much more so than like the typical film world does. I mean, obviously there are very, very creative filmmakers out there that do work in a similar way. But by and large, the kind of majority, the bulk of the film industry is generally sort of trying to be a commercial product.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So there&#8217;s only so far, you can normally go with that kind of stuff. And typically in film, you&#8217;ll get very specific stylistic requirements, which, you know, I can do and I have done, but I naturally found myself working in theater for a long time and then covid happened and theater still hasn&#8217;t quite recovered.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So I&#8217;ve got\u00a0 a few gigs coming up here and there at the moment in the theater, but I&#8217;m really sort of at the moment trying to refocus back towards film just because it survived COVID.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Now, cinema is slowly becoming a thing of the past, but as an industry, it&#8217;s really somewhere quite promising. And I still have all of the same love for film that I had when I was studying. So for me, it seems quite sort of natural that I try and move back there because it&#8217;s what I trained in really more so than theater.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And it&#8217;s kind of almost like returning to my kind of original passion a little bit. So yeah, I&#8217;m really kind of hoping to move back towards film and I&#8217;ve got a few sort of leads in that direction at the moment, but it&#8217;s all quite sort of a very liminal time at the moment, just because in a way, theater is starting to start up again and I&#8217;m having to kind of face his questions about, do I wanna go all in on this again?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Or do I want to kind of take a step back and maybe focus a bit on rebranding myself a little.<\/span><\/p>\n<p><b>I would love to learn about your process for composing, for film versus theater.<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Composing for theater is actually much more similar to composing for video games. The reason being that a theater performance is never the same night to night, so you can&#8217;t have a queue that&#8217;s exactly two minutes and 12 seconds long with a hit point at the end, cuz you don&#8217;t know if that scene is gonna maybe take a bit longer this day or a bit shorter that day. So typically in theater you&#8217;ll have someone sitting behind a computer and they&#8217;ll be kind of hitting the queues and it will be sort of pro it&#8217;ll be controlling normally Q Lab, but there are other programs that do this as well.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And they&#8217;ll be handling lots of cross fades and there&#8217;ll be loops and there&#8217;ll be certain stingers that happen on certain cues. And in a sense, you&#8217;re designing a system that&#8217;s kind of versatile that can kind of be pushed and pulled around the performances of a cast that might forget a line or might add a line.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Or I found working in theater really sort of for the, for the video game work that I have done having that background was really, really helpful. But in terms of film, really the differences in the specificity of the synchronicity. So with film, a certain degree of synchronicity, that is sort of a baseline requirement.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Where certain big moments happen. The music has to know that happened. You can&#8217;t just have a five minute long loop happening on top of a complex scene. You need to react to the emotional narrative flow. You need to react to the visual storytelling. You need to react to it.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">All of these little clues that you get about the dramatic flow of this scene, the music needs to feel like it&#8217;s sort of like a leaf sort of flowing along this river of narrative.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">But I would actually argue that the level of synchronicity that you need to score a scene hasn&#8217;t actually changed. It&#8217;s just that the way you react to those moments is a lot more subtle. So yeah, for me, it&#8217;s all about reading the scene, understanding the filming language, understanding all of these editing decisions and cinematography decisions and the lighting decisions and grading decisions and all of those feed into your understanding of everything.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That filmmaker wants this scene to feel and to look and how the flow shifts over time. You can&#8217;t really do that with theater. I mean, there&#8217;s no camera for one thing and okay, there are lighting shifts and things like that, but you know, theater is a lot more like a kind of Lego blocks of sounds that kind of fade into each other.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And there&#8217;s only so much specificity you can do. And if you do really want that kind of specialty, which happens sometimes, especially in things like dance theater, normally you write the music first and then they have to choreograph the scene around it. That&#8217;s the only way you can really do that. In going back to film composing, I would love to learn about your collaboration process with other filmmakers.<\/span><\/p>\n<p><b>What has your experience been, in composing for film so far in your career? How do you understand what the vision is? What the story is like, how do directors speak to you?<\/b><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Well, the vast majority of directors I&#8217;ve worked with are non-musicians. I think that that&#8217;s generally true across the industry.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Of course, that&#8217;s not a judgment. They didn&#8217;t train in music, so they don&#8217;t necessarily understand the terminology that you\u2019re using. So a lot of the time they&#8217;ll say things like, I don&#8217;t like that clarinet. And what they&#8217;re saying is that they don&#8217;t like that instrument.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">You know, often what they really mean is that they don&#8217;t like that melody and they&#8217;ve kind of jumped on the instrument as the problem, rather than the melody, or they&#8217;ll often use terminology in that kind of way. That&#8217;s a little bit short. A little bit abstracted from what they actually mean, just because they haven&#8217;t quite got the vocabulary to express that.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So a lot of the time it&#8217;s really to do with, I try to talk with filmmakers on a very emotional level on a very kind of intuitive level. So it&#8217;s easy to get too analytical about it and to be hyper specific and hyper analytical. I don&#8217;t think filmmakers generally tend to get on that well with that.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">They don&#8217;t see music in that way. They don&#8217;t tend to see it in a very analytical or scientific or mathematical way. They tend to view it in a much more immediate, emotional, intuitive way. And that&#8217;s normally how it sounds and feels, but they don&#8217;t quite have the insight to realize that it&#8217;s actually made with the same degree of technical specificity as the camera work or the lighting.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So I try to talk with them on an emotional sort of level. I&#8217;ll ask them about characters and, and how those characters are feeling or how the audience is supposed to be feeling or does this feel like an escalation or does this feel like a resolution? How does it feel? How does it, the product, the scene, the film, how does it feel?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I find these kinds of slightly abstracted questions tend to get the best outcomes I do like to work with, shared Spotify playlists and things like that. Sort of building up like a library of reference material. I try not to lean on that too hard. I generally don&#8217;t like to temp stuff into scenes for all of the reasons that everyone knows about, it sort of presents a slightly inauthentic picture of what the final result will be.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And again, filmmakers are not musicians. If you send them a film with music on, they&#8217;ll feel it very directly. And if that music is then gonna change, you&#8217;re sort of introducing a kind of an obstacle into that process of developing the work. So I like to use Spotify playlists as reference material, but I don&#8217;t then cut that into the film or I might do it for myself, but I won&#8217;t show it to them just because it tends to kind of give the wrong impression a little bit.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So yeah, it&#8217;s interesting. I haven&#8217;t yet worked with a filmmaker that really knows music. And I wonder, I&#8217;m curious about, no doubt one day that will happen. And now it might be a very strange, strange experience. But for now it&#8217;s almost like being a doctor and, and seeing a patient, they give you symptoms and, and you have to kind of figure out what&#8217;s going on and prescribe them drugs.<\/span><\/p>\n<p><b>Is there anything that stands out in qualities that you think you have as far as your sound?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">I tend to work fairly non-traditional. I mean, strictly in terms of orchestras, really, I very much can write for orchestra and I have done, I would say I&#8217;m a proficient orchestrator, but when it comes to my own compositions, I tend to use instrumental combinations, quite liberally.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So it&#8217;s quite rare for my work to just sound like an orchestra in a room, but rather to sound in some way expanded or shrunk or stretched just through the ways that I record these instruments sometimes. I mean, it&#8217;s interesting how if you record 36 violins and violas all as overdubs, which I&#8217;ve done quite a lot, it sounds different to a string orchestra.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And it sounds very particular because it&#8217;s all the same player and it&#8217;s all the same instrument. So obviously there&#8217;s advantages to having a real orchestra. And that has the sound of it. But this sort of over-dubbing technique creates a really kind of a very particular quality that it&#8217;s really hard to put into words.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And I think it makes it sound quite sort of unusual. I think I do lean into unusual sounds and I think that I like to do a lot with a little, so I tend not to have very long melodies or very elaborate sequences. I&#8217;m very keen on using small fragments to make them sound really interesting somehow.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And using those small fragments as sort of musical material. Yeah. I think my kind of particular way of recording things, the use of live live instruments, but in a non-traditional kind of production style, I would say that&#8217;s the thing that I feel makes me sound unique.\u00a0<\/span><\/p>\n<p><b>As far as top challenges, you had noted finding paying gigs and networking successfully. I&#8217;d love to unpack that a bit more and understand, how do you currently go about finding more paying gigs?\u00a0<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Yeah, that&#8217;s a good question at the moment. I&#8217;m trying very hard not to be that guy that you always see constantly spamming every filmmaking group with their showreel, cuz I&#8217;m convinced that they don&#8217;t get any work.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">By doing that again, I&#8217;m convinced that nobody really looks at those things because there&#8217;s just so many of them and it sort of became obvious to me that that&#8217;s not really a viable route. It might work for some people sometimes or whatever, but it didn&#8217;t seem like that was an appropriate route.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So for me, this was trying to develop a strategy over the COVID period. It was like, I was kind of trying to basically do firsthand market research to see what strategies work, how is it that I get people to kind of engage with me. And I found that the best way was to message people privately rather than publicly and message people whose work I&#8217;ve seen.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Rather than just a random person who says they&#8217;re a filmmaker, like I have to have seen their work. I have to have something to say about their work and that&#8217;s beneficial for two reasons; The first reason is that it means that they want to have a conversation with me because everyone is self-conscious about their work and they always want to.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">To have conversations about their work. Secondly, it means that I&#8217;m only contacting people that I know what kind of work they do, and that I&#8217;ve judged that it&#8217;s appropriate because if I&#8217;m just spamming everyone with my showreel, I might be messaging someone who only does rom coms, and that&#8217;s not what I do, you know?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">We might network really well, but then I&#8217;ll end up doing a bad job on their film because it&#8217;s not actually where my stylistic tendencies will naturally lie. So that&#8217;s kind of why I do that. And I found that sort of finding a specific filmmaker whose film that I&#8217;ve watched, that I actually like, it&#8217;s a very time consuming thing, but it kind of, it does tend to get positive interaction probably is, you know, even those people have just constantly getting emailed, messaged by people.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And a lot of the time it&#8217;s sort of, it&#8217;s difficult to get a phone number for some of these people. And it also feels a little bit like calling someone up is slightly invasive. I know that it&#8217;s the way to do it. I&#8217;m very well aware that that&#8217;s the way to do it. If you really want to get a reaction from someone you call them up, there&#8217;s a kind of part of me that instinctively feels like if I call somebody up and they&#8217;re getting bothered by composers all the time, like immediately you set that relationship up on a kind of slightly negative basis, which is that I&#8217;m annoying them by kind of invading their space with my voice.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So that is more like a welcome sort of invitation into their life rather than a kind of invasion.<\/span><\/p>\n<p><b>You mentioned reaching out to DMing filmmakers. I&#8217;m curious, is this just on social media, like Facebook, Instagram, or where are you finding the work?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">So a couple of places, this is a bit of a kind of fool&#8217;s errand, but I sort of do it anyway. I scroll through the crowdfunding sites to see what films are currently crowdfunding and the ones that haven&#8217;t yet got a composer listed, it&#8217;s often not a bad idea to message them.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And almost always, they already have a composer on board or whatever, but you know, I do it anyway, cuz you never know. But also yeah, Facebook groups, lots of indie filmmaking groups, you know, they&#8217;re very prolific, they&#8217;re very busy places. There&#8217;s lots of people sharing their work there. A lot of people sharing trailers for their work, a lot of people sharing their crowdfunding pages.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That&#8217;s a good way of knowing that someone&#8217;s in the process of funding something, which means that they&#8217;re at an early enough stage that they might be receptive to hearing from a composer. Otherwise I&#8217;m also a member of the London horror society, which is a really cool little group of people who just love horror and people who make podcasts and films and TV shows and things like that.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">So I&#8217;ve kind of managed to make a few good connections there. I kind of feel like the reason why that works, what was kind of remarkable to me is that when I kind of got membership into that society, I was the only one composer in that society, and that really surprised me because all of the filmmaking groups on Facebook, I would guess that at least 70% of the members are composers.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It was really odd to me that in this society, I was the only one that I could see. And I have a sneaky suspicion that the reason why is because you have to pay to join. I don&#8217;t know how or why that&#8217;s kind of shifted the demographic. Post about your work in an area where there&#8217;s no kind of upfront fee or you don&#8217;t have to commit to anything, you just have to send something and whatever, maybe you get banned or whatever.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">And the other thing is that I still have a lot of contacts from the theater industry. So there&#8217;s a fair amount of crossover, at least in the technical industries.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That&#8217;s the reason why it works, and these Facebook groups. I don&#8217;t believe any of them really are dedicated communities. I think they&#8217;re really sort of at best, very, very big sort of notice boards where people just put their things up. And some people might interact, but there&#8217;s no sense of community being driven there.<\/span><\/p>\n<p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; fullwidth=&#8221;on&#8221; admin_label=&#8221;CTA: Sign Up&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#06A59A&#8221; collapsed=&#8221;on&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_fullwidth_header title=&#8221;Are you a music composer?&#8221; subhead=&#8221;Join the composer community by quickly creating your free Compozly profile&#8221; text_orientation=&#8221;center&#8221; button_one_text=&#8221;Create my account&#8221; button_one_url=&#8221;https:\/\/compozly.com\/register&#8221; title_tablet=&#8221;Join the Compozly Community&#8221; title_phone=&#8221;Join the Compozly Community&#8221; title_last_edited=&#8221;on|phone&#8221; admin_label=&#8221;BUTTON: Create my account&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; title_font=&#8221;|800|||||||&#8221; title_text_color=&#8221;#FFFFFF&#8221; title_font_size=&#8221;46px&#8221; title_line_height=&#8221;1.4em&#8221; content_font=&#8221;|600|||||||&#8221; subhead_font=&#8221;|700|||||||&#8221; subhead_text_color=&#8221;#FFFFFF&#8221; subhead_font_size=&#8221;17px&#8221; background_color=&#8221;RGBA(255,255,255,0)&#8221; custom_button_one=&#8221;on&#8221; button_one_text_size=&#8221;24px&#8221; button_one_text_color=&#8221;#FFFFFF&#8221; button_one_bg_color=&#8221;#ff784f&#8221; button_one_border_radius=&#8221;16px&#8221; button_one_font=&#8221;|700|||||||&#8221; button_one_icon=&#8221;&#x24;||divi||400&#8243; button_one_icon_color=&#8221;#FFFFFF&#8221; button_one_on_hover=&#8221;off&#8221; title_font_size_tablet=&#8221;48px&#8221; title_font_size_phone=&#8221;36px&#8221; title_font_size_last_edited=&#8221;on|phone&#8221; title_text_shadow_style=&#8221;preset1&#8243; title_text_shadow_blur_strength=&#8221;0.13em&#8221; title_text_shadow_color=&#8221;rgba(0,0,0,0.13)&#8221; subhead_text_shadow_style=&#8221;preset2&#8243; subhead_text_shadow_color=&#8221;rgba(0,0,0,0.19)&#8221; box_shadow_style_button_one=&#8221;preset1&#8243; box_shadow_blur_button_one=&#8221;13px&#8221; box_shadow_spread_button_one=&#8221;-8px&#8221; box_shadow_color_button_one=&#8221;rgba(0,0,0,0.15)&#8221; global_colors_info=&#8221;{}&#8221; button_one_text_color__hover_enabled=&#8221;on|hover&#8221; button_one_text_color__hover=&#8221;#E09900&#8243; button_one_bg_color__hover_enabled=&#8221;on|hover&#8221; button_one_bg_color__hover=&#8221;#FFFFFF&#8221; button_one_bg_enable_color__hover=&#8221;on&#8221; button_one_icon_color__hover_enabled=&#8221;on|hover&#8221; button_one_icon_color__hover=&#8221;#E09900&#8243;][\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; collapsed=&#8221;on&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;3_5,2_5&#8243; admin_label=&#8221;SECTION &#8211; Email Optin &#8211; eBook Signup &#8211; The Essential Guide to Film Music Collaboration&#8221; _builder_version=&#8221;4.14.5&#8243; _module_preset=&#8221;default&#8221; global_module=&#8221;208326&#8243; saved_tabs=&#8221;all&#8221; collapsed=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;3_5&#8243; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_image src=&#8221;https:\/\/compozly.com\/blog\/wp-content\/uploads\/2018\/05\/ebook-thumbnail_2022.png&#8221; alt=&#8221;Compozly eBook&#8221; title_text=&#8221;Compozly eBook&#8221; admin_label=&#8221;eBook Thumbnail&#8221; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][\/et_pb_column][et_pb_column type=&#8221;2_5&#8243; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_signup mailchimp_list=&#8221;Compozly MailChimp|e8500b7298&#8243; use_custom_fields=&#8221;on&#8221; success_action=&#8221;redirect&#8221; success_redirect_url=&#8221;https:\/\/compozly.com\/blog\/essential-film-music-collaboration-guide\/&#8221; button_text=&#8221;Download&#8221; description=&#8221;<\/p>\n<p>Get your FREE copy of %22<strong>The Essential Guide to Film Music Collaboration%22 <\/strong>to help create better music for your film and video projects.<\/p>\n<p>&#8221; admin_label=&#8221;Mailchimp Email Optin Form &#8211; Composer Preferences &#8211; eBook&#8221; module_class=&#8221;pa-hide-optin-group&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;|600|||||||&#8221; header_text_color=&#8221;#333333&#8243; header_font_size=&#8221;16px&#8221; header_line_height=&#8221;1.3em&#8221; body_text_color=&#8221;#333333&#8243; use_background_color=&#8221;off&#8221; custom_button=&#8221;on&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#06A59A&#8221; button_border_color=&#8221;RGBA(255,255,255,0)&#8221; button_font=&#8221;|700|||||||&#8221; button_icon=&#8221;&#xe092;||divi||400&#8243; button_on_hover=&#8221;off&#8221; background_layout=&#8221;light&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_signup_custom_field field_id=&#8221;5&#8243; field_title=&#8221;Job Title&#8221; field_type=&#8221;input&#8221; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221; predefined_field=&#8221;5&#8243;][\/et_pb_signup_custom_field][et_pb_signup_custom_field field_id=&#8221;ba17e26170&#8243; field_title=&#8221;Composer Preferences&#8221; field_type=&#8221;checkbox&#8221; checkbox_options=&#8221;%91{%22checked%22:1,%22value%22:%22eBook%22,%22id%22:%22e7b83f8072%22,%22dragID%22:-1}%93&#8243; _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221; predefined_field=&#8221;ba17e26170&#8243;][\/et_pb_signup_custom_field][\/et_pb_signup][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;Global Footer&#8221; _builder_version=&#8221;4.14.5&#8243; background_color=&#8221;#2c2c2c&#8221; min_height=&#8221;454px&#8221; custom_margin=&#8221;||1px||false|false&#8221; custom_padding=&#8221;40px||41px||false|false&#8221; global_module=&#8221;207564&#8243; saved_tabs=&#8221;all&#8221; collapsed=&#8221;on&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;1_2,1_4,1_4&#8243; _builder_version=&#8221;4.16&#8243; min_height=&#8221;385px&#8221; custom_margin=&#8221;|auto|-43px|auto||&#8221; custom_padding=&#8221;40px||40px|||&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_image src=&#8221;https:\/\/compozly.com\/blog\/wp-content\/uploads\/2018\/05\/Compozly-Logo_FullColor-WhiteText_Transparent_175x45.png&#8221; alt=&#8221;Compozly Logo&#8221; title_text=&#8221;Compozly Logo&#8221; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][et_pb_text _builder_version=&#8221;4.17.3&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><a href=\"https:\/\/compozly.com\/contact\"><span style=\"color: #ffffff;\">CONNECT WITH US &gt;<\/span><\/a><\/p>\n<p><span style=\"color: #ffffff;\">\u00a9 2023 Compozly, LLC ALL RIGHTS RESERVED<\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=&#8221;1_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;About&#8221; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;|600|||||||&#8221; text_text_color=&#8221;#FFFFFF&#8221; header_font=&#8221;Poppins|700|||||||&#8221; header_font_size=&#8221;32px&#8221; global_colors_info=&#8221;{}&#8221; text_text_color__hover_enabled=&#8221;on&#8221; text_text_color__hover=&#8221;#ffffff&#8221;]<\/p>\n<h1><a href=\"https:\/\/compozly.com\/about\/\"><span style=\"color: #ffffff;\"><strong>About<\/strong><\/span><\/a><\/h1>\n<p><a href=\"https:\/\/compozly.com\/support\"><span style=\"color: #ffffff;\">Support<\/span><\/a><\/p>\n<p><a style=\"color: #ffffff;\" href=\"https:\/\/compozly.com\/blog\/contact\/\">Contact<\/a><\/p>\n<p><span style=\"color: #ffffff;\"><a style=\"color: #ffffff;\" href=\"https:\/\/compozly.com\/blog\/privacy-policy\/\">Privacy Policy<\/a><\/span><\/p>\n<p><span style=\"color: #ffffff;\"><a style=\"color: #ffffff;\" href=\"\/terms-of-service\">Terms of Use<\/a><\/span><\/p>\n<p><span style=\"color: #ffffff;\"><a style=\"color: #ffffff;\" href=\"\/composing-for-a-cause\">Composing for a Cause<\/a><\/span>[\/et_pb_text][\/et_pb_column][et_pb_column type=&#8221;1_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;About&#8221; _builder_version=&#8221;4.17.3&#8243; text_font=&#8221;|600|||||||&#8221; text_text_color=&#8221;#FFFFFF&#8221; header_font=&#8221;Poppins|700|||||||&#8221; header_font_size=&#8221;32px&#8221; global_colors_info=&#8221;{}&#8221; text_text_color__hover_enabled=&#8221;on&#8221; text_text_color__hover=&#8221;#ffffff&#8221;]<\/p>\n<h1><a href=\"https:\/\/compozly.com\/blog\/blog\"><span style=\"color: #ffffff;\"><strong>Resources<\/strong><\/span><\/a><\/h1>\n<p><a href=\"https:\/\/compozly.com\/login\"><span style=\"color: #ffffff;\">Login<\/span><\/a><\/p>\n<p><a href=\"https:\/\/compozly.com\/register\"><span style=\"color: #ffffff;\">Sign up<\/span><\/a><\/p>\n<p><span style=\"color: #ffffff;\"><a style=\"color: #ffffff;\" href=\"https:\/\/compozly.com\/blog\/\">Composer Blog<\/a><\/span><\/p>\n<p><span style=\"color: #ffffff;\"><a style=\"color: #ffffff;\" href=\"https:\/\/compozly.com\/start-a-project\">Start a Project<\/a><\/span><\/p>\n<p><span style=\"color: #ffffff;\"><a style=\"color: #ffffff;\" href=\"https:\/\/anchor.fm\/compozly\/\" target=\"_blank\" rel=\"noopener\">Podcast<\/a><\/span>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reading time: 5 minutes: <\/p>\n<p>Learn how to compose music for film and theater with composer David Denyer.<\/p>\n","protected":false},"author":2,"featured_media":209063,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"<p><span style=\"font-weight: 400; color: #000000;\">If you were ever a fan of the Nintendo 64, you most likely spent hours and hours listening to our spotlight composer\u2019s music on loop, whether in Goldeneye or Perfect Dark, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Banjo-Kazooie\" target=\"_blank\" rel=\"noopener\">Banjo Kazooie<\/a> or Banjo Tooie, and even that infamous yellow cartridge, DK64. Grant Kirkhope is someone who defined the sound of my youth, and still today, going on 30 years old, I replay the above classics even if just to hear that iconic music and those Rare (now Playtonic Games) sound effects. In 2016 he scored the very popular Ghostbusters game, while the movie did not fare as well. In 2017, Grant scored the modern 3D platform and spiritual successor to Banjo-Kazooie, Yooka-Laylee, along with Mario + Rabbids Kingdom Battle. Starting with a project of converting the music from the SNES Diddy Kong\u2019s Quest to the Gameboy game, Donkey Kong Land 2, then jumping right into the still-classic Goldeneye on N64. Kirkhope\u2019s first credits are among some of his most notable titles! He has had no trouble getting work as a composer for video games, as he rarely (haha, get it?) takes a break. Below are a mix of interview questions he\u2019s received and answered over the years to give you more insight into this musical genius!<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Graeme Norgate asked Grant to finish scoring Goldeneye 007, so that Norgate could focus on the music for Blast Corps. In this process, Grant learned how to get the music and sound FX into the N64 hardware. After working on 007 for a bit, his work was noticed by Tim Stamper and Gregg Mayles, who re-assigned him to work on Project Dream (also known as <a href=\"https:\/\/en.wikipedia.org\/wiki\/Banjo-Kazooie\" target=\"_blank\" rel=\"noopener\">Banjo Kazooie<\/a>) with David Wise. After this he worked on Perfect Dark, Banjo-Tooie, and more popular N64 titles! On July 14th, 2008, Grant, in frustration, resigned from Rare to become a freelance composer, as the company was bought out by Microsoft. This buyout led to much less love and care being put into their titles, as many members of the smaller teams that worked on those games from 1995-2000 had left previous to Kirkhope. He then ended up at Big Huge Games (acquired by 38 Studios) until May 24th, 2012 when the entire staff was laid off. This time off gave Grant the opportunity in June 2012 to play some live festivals with former band mates Little Angels. In August 2012, Grant moved to Los Angeles get deeper into film scoring, and less than a year after that \u00a0in June 2013, he signed with one of the top composer agency\u2019s Gorfaine\/Schwartz Agency. <\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Here are a handful of interesting questions compiled into one super interview. Enjoy!<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: How did you become a video game music composer? Was it more by chance, or was it something you always aspired to do?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Definitely by chance! I'd been playing in lots of different kinds of bands for 10 years or so since leaving the RNCM. The last band I played for broke up and I was left with nothing to do. Robin Beanland was already working at Rare and suggested I might have a go at what he was doing. I was down to my last bit of money and he recommended a synth module, a keyboard, an Atari ST and a copy of Cubase. I started writing some pieces and sent five cassettes to Rare over the course of a year and heard nothing back. Then, out of the blue, I got an interview and they gave me the job!<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: <\/b><b>What lessons did you take away from it that helped you on future projects?<\/b><\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">I didn't really have time to think as I was moved from <\/span><i><span style=\"font-weight: 400;\">GoldenEye<\/span><\/i><span style=\"font-weight: 400;\"> before it finished and onto <\/span><i><span style=\"font-weight: 400;\">Project Dream<\/span><\/i><span style=\"font-weight: 400;\">, which eventually turned into <\/span><i><span style=\"font-weight: 400;\">Banjo-Kazooie<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Have you collaborated with other composers on scores or do you work alone?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I do really prefer working alone for the most part, but it's just not possible today, the games are far too big to take it on alone.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: What was the first week on the job like?<\/b><\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Hehe! Tuff! When I first arrived I was given <\/span><a style=\"color: #000000;\" href=\"http:\/\/www.mobygames.com\/game\/donkey-kong-land-2-diddys-kong-quest\"><i><span style=\"font-weight: 400;\">Donkey Kong [Land] 2<\/span><\/i><\/a><span style=\"font-weight: 400;\"> on the <\/span><a style=\"color: #000000;\" href=\"http:\/\/ocremix.org\/system\/gb\/\"><span style=\"font-weight: 400;\">Game Boy<\/span><\/a><span style=\"font-weight: 400;\"> to do. I had to convert all of <\/span><a style=\"color: #000000;\" href=\"http:\/\/ocremix.org\/composer\/id\/100\/dave-wise\/\"><span style=\"font-weight: 400;\">Dave Wise<\/span><\/a><span style=\"font-weight: 400;\">'s tunes from the <\/span><a style=\"color: #000000;\" href=\"http:\/\/ocremix.org\/system\/snes\/\"><span style=\"font-weight: 400;\">SNES<\/span><\/a><span style=\"font-weight: 400;\"> version. He showed me how to do it but it was all in <\/span><a style=\"color: #000000;\" href=\"http:\/\/en.wikipedia.org\/wiki\/Hexadecimal\"><span style=\"font-weight: 400;\">Hex<\/span><\/a><span style=\"font-weight: 400;\">, I hadn't a clue what he was talking about. I thought I was going to have to resign, as there was no way I would be able to do it!<\/span><\/span><\/p><p><span style=\"color: #000000;\"><b>Q: What is the process of converting the music from the SNES to the Game Boy like?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">It was tricky. In that time, Rare did all their Game Boy games in hex, no MIDI file or anything. I was like \u201chow the hell am I going to do this?\u201d So, Dave Wise came across and showed me how it worked (very quickly) on my first day, and it was really hard. I actually said to Robin \u201cI\u2019m going to have to resign, this is too hard, I can\u2019t actually do it\u201d. However, he said to ask Dave back tomorrow and write down every step that he tells you to do. So, I did this, wrote down every step-in order (like number 1, press Alt 4, number 2, type this, etc) in real parrot fashion and then I kind of understood it then. Heck, I quite enjoyed it in the end, and thought it was quite fun to get the music to work on the Game Boy. So yeah, I liked it in the end, but the start was super scary.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: To get the attention of Rare, you sent in five tapes to the company over the course of a year before you heard back. How close to quitting were you after tape four? Any advice for those who may be facing a similar situation?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Ha! I really had no idea whatsoever about trying to get a job. I'd never tried to do it before, I'd always been playing in bands, etc. Because Robin Beanland worked there and because we'd been in bands together, I didn't really consider trying to get a job anywhere else. He spoke so highly of Rare that I just wanted to be there so badly. I remember I did apply to Eurocom in Derby, but they turned me down flat! I was getting a bit worried by tape 4... hehe. They never replied at all... not even a \"thanks, but no thanks\" letter. I really was down to the last bit of money I'd saved up from touring. I was on unemployment benefit and I applied for work training at a tiny games company called Twilight Games in Harrogate. They took me on for the 6 weeks and actually did offer me a job at the end of it, but I'd literally just got the job offer from Rare.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I think breaking into the industry now is very hard. I guess the best way is to try and get onto some kind of intern job; we have two guys here at BHG who are very good indeed. Just trying to get a job as a composer is the hardest of all. I always tell people to make sure they are good sound designers as well. Despite the fact I'm known for being a composer, I have always done sound design on the games I've worked on. I like having the variety.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: One of the things you like to drill into aspiring composers is that they need to have range, they need to be able to produce pieces in all sorts of styles. You've spoken before on working within the technical limitations of older platforms, but have you had any particular challenges in embracing certain musical styles? How often have you been presented with opportunities that test your range?<\/b><\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">I really can manage most styles of music, apart from dance music, I'm pretty terrible at that! I got asked to write in a lot of different styles for the <\/span><i><span style=\"font-weight: 400;\">Pi\u00f1ata<\/span><\/i><span style=\"font-weight: 400;\"> games. It was great fun, getting to write 20 second snippets of music was just enough before I ran out of ideas (as Dave Clynickalways used to say!)... hehe! I think both of those games tested my range. When I was asked for some cool jazz for the Penguin (I think), I got Robin to do it. He did a great job, but I think I managed the rest!<\/span><\/span><\/p><p><span style=\"color: #000000;\"><b>Q: What were some ways you prepped for the <\/b><b><i>GoldenEye 007<\/i><\/b><b> score? Did you and Graeme Norgate study <\/b><b><i>GoldenEye<\/i><\/b><b>\u2019s film score or other 007 scores to get the style down?<\/b><\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Nozzer (Mr. Norgate!) and me did listen to all the Bond theme songs constantly during composing for <\/span><i><span style=\"font-weight: 400;\">GoldenEye<\/span><\/i><span style=\"font-weight: 400;\">. He started the game and was doing <\/span><i><span style=\"font-weight: 400;\">Blast Corps<\/span><\/i><span style=\"font-weight: 400;\"> before I got the job, then, when I started, he asked me to take over from him on <\/span><i><span style=\"font-weight: 400;\">GoldenEye<\/span><\/i><span style=\"font-weight: 400;\"> as he was snowed under. I listened to the <\/span><i><span style=\"font-weight: 400;\">GoldenEye<\/span><\/i><span style=\"font-weight: 400;\"> soundtrack quite a lot too, it was fantastic to get to use THE Bond theme. I didn't finish that game, so Nozzer returned to finish it off, as I got dragged off by Tim Stamper and Gregg Mayles to start work on <\/span><i><span style=\"font-weight: 400;\">Dream<\/span><\/i><span style=\"font-weight: 400;\">. I did do some sound design on that game, but I think it got replaced in the end.<\/span><\/span><\/p><p><span style=\"color: #000000;\"><b>Q: What is your advice for writers block? What is your experience with it?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I've had it loads of times, but I really can't offer any advice. I've spent days looking out of my office window at Rare and not written a note. It's tough when you're an in-house audio guy. You just have to write and write and write like it's a conveyor belt. That's why I like to do sound design too; it's a nice break from composing and good fun. I think when it gets really bad, I try and listen to some music that I really like and let it get me going again.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: What are your thoughts on the evolution of video game music going from 8-bit to full orchestral scores for some modern games?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I think it's a good thing, it has to evolve. I do agree that back then you had to write a good tune as you had very limited resources and the tune was everything. It's easy these days to write lots of big chords and ambiances without actually having much musical knowledge. For me it's all about the harmony and melody, people like John Williams are unbelievable. I mean, how many of his tunes can you sing back right now? Probably all of 'em... Incredible!<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: What was the transition of going from playing in bands to working on video game projects like for you personally?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">It was amazing! I think I spent like 11 years of my life from 22 to 33 playing in bands. It\u2019s all I did. I never got a job. I lived with my mother thinking I was just going to be a failure playing in crappy bands forever. By the time I was 33, I was just playing in cover bands in my local area to make a living. So then my friend, Robin Beanland, he played in one of the bands I played in. He was putting together these little demos off of computer music. And he said, \u2018I\u2019m gonna try to get a job.\u2019 I just ignored it thinking it was nonsense. And then one day he announced that he got a job at this company called Rare in the UK. I never heard of them. About a year and a half went by and Robin said, \u2018You know, Grant, you\u2019ve been on unemployment benefit for about 11 years. Don\u2019t you think it\u2019s time to get a job?\u2019 I asked what I could even do, and he responded, \u2018Why not do what I do?\u2019 He recommended some gear for me to buy so as to write some tunes I thought would be appropriate for video games. I sent Rare five cassette tapes over the course of that year. I never got a reply. Then out of the blue, I got a letter asking me to come in for an interview. I sat down with David Wise and the general manager and I got the job. I couldn\u2019t believe it.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">To be working at a company that was so prestigious, it was\u2026 I mean, it made the news in the UK that Nintendo bought half the company. For me, going there was like doing to Disneyland. It was just incredible.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Could you go into more detail about the 2010 transition from Rare to Microsoft? How did that affect you at the time?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">That\u2019s a tough question. I think at the time I was pretty pissed off. Tim and Chris (Stamper) left the company shortly before I left. I kinda felt that the magic had gone at that point. It was such a fantastic experience, and for me to see it not do as well for whatever reason was hugely upsetting to me. I never thought I would ever leave that place. I thought I\u2019d be there forever.<\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Microsoft bought Rare for a reason. They wanted to get broad appeal content onto the original Xbox. We couldn\u2019t possibly create enough games to completely champion the broad appeal content. We just didn\u2019t have enough staff to do that. <\/span><i><span style=\"font-weight: 400;\">Grabbed by the Ghoulies<\/span><\/i><span style=\"font-weight: 400;\"> came out and there was a massive backlash from all the Nintendo guys who didn\u2019t want to hear from Rare anymore. It just went downhill from there.<\/span><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">A lot of internal fighting started before Microsoft got interested. It was an undercurrent of unhappiness. I loved everything about Rare, and I couldn\u2019t believe people were speaking badly about it. I think Microsoft bought something that was on the way down and they didn\u2019t know it. Then they compounded the problem.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">On the walls, we had framed pictures of all the games we worked on. There was a huge Nintendo tapestry in the foyer, like 20 feet tall. But then Microsoft took it all down. They took all the pictures off the wall. They took the tapestry down. It was almost like they didn\u2019t want to be associated with what Rare did in the past.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">We were used to being an agile company. You might have a meeting to talk over what to do and just do it. With Microsoft, if you had an idea, then you would have to send it up the chain and wait a week. When you\u2019re dealing with a bunch of hippies, that production line way of doing things doesn\u2019t work.<\/span><\/p><p><strong><span style=\"color: #000000;\">Q: You have stated that video game composers could do a movie score as well as any of the current film composers. Why haven\u2019t you jumped into the film scoring industry yet?<\/span><\/strong><\/p><p><span style=\"font-weight: 400; color: #000000;\">No one has asked me! Part of the reason why I moved to Los Angeles was so as to try and get into the movie industry. I am actively doing that. I\u2019ve done quite a lot of short films so far.<\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Seeing that they\u2019re making a <\/span><i><span style=\"font-weight: 400;\">Mario<\/span><\/i><span style=\"font-weight: 400;\"> movie, I would love to do that. I kinda feel like I\u2019m the only guy in the Western world who has touched <\/span><i><span style=\"font-weight: 400;\">Mario<\/span><\/i><span style=\"font-weight: 400;\">. I had just done <\/span><i><span style=\"font-weight: 400;\">Mario + Rabbids<\/span><\/i><span style=\"font-weight: 400;\"> for the past three years. I\u2019ve got all the cinematic sequences for it. If you put them together, it would be a movie.<\/span><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I would love to work on some movies, but at the same time, I do love working on video games. I wouldn\u2019t want to stop that. I\u2019d just like to do a bit of both. That would be great.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Some feel that video game music is underrated from a certain point of view. From your perspective do you think there's an issue with video game music recognition?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Video game music is getting bigger all the time. My son's 14 and an avid game player, but he doesn't really listen to anything apart from game music. His playlists are all game music. At his age you're normally getting into pop music or something like that, but he isn't. He loves Undertale, thankfully some of my stuff too! I think it's definitely changing. <\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">My generation has a lot of people that haven't really played a game, but once you go down a generation it gets less like that. Everyone you know my son's age or even into their 20s has played a game; it's seeping into culture everywhere. You get these live concert tours all the time, selling out venues all the time. It's a real big thing now; even Classic FM votes in stuff like Banjo-Kazooie! Game music is played on the radio, it's getting everywhere, so I think in some respects video games still do melodic themes very well. I think of movie music and it's not as prevalent as it used to be; I think of movies and the music can be very big and epic but not always memorable or remarkable. So it's exciting but you can't remember a note of it.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">In video games you can usually remember the tunes, as you might be in a level a long time and hear it a lot. So you've got to make sure the music's not repetitive and getting on the player's nerves, and make it likeable. It's a hard task. I remember when I first worked at Rare, Tim Stamper and Gregg Mayles constantly trooped out the Mario themes and said 'these tunes can play for three hours and you don't get bored of it.' You've got to do that, and it was hammered home day after day, so we had to learn that skill or get fired!<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Video game music is a wealth of diversity, and there's so much of it. People love it, too, it's everywhere. I think people still think it's a bit of an underground thing but I don't think it is. It's permeating everywhere, you hear GameBoy sounds in dance music, for example. It's completely embedded into the culture. I think it's super cool when you hear those references in pop, rap, whatever.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Game music goes from massive orchestras to chiptunes, right from top to bottom. It's all great. My son loves Undertale and that's chiptune stuff and he adores it, and he also loves orchestral parts in Super Mario Galaxy. I feel that video game music has re-introduced people to instrumental music, because people are so used to songs with vocalists. You remove that and you've just got the melody, no hook line to catch onto, so it has to be a good tune. Parents have 10-year-old kids saying they want to see a symphony orchestra, because they're playing game tunes. For me that's fantastic.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Did you work on any other games between GoldenEye and Banjo?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">No, that was it. I just worked on GoldenEye, then one day Tim Stamper (who was the boss of Rare) and Greg Mayles (who was the lead designer) showed up and just said \u201ccould you please play your GoldenEye music\u201d<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I was like \u201calright, I\u2019m gonna get fired because they think it\u2019s crap\u201d. So, they sat listening, I played the tunes and then they said \u201cright, you\u2019re gonna come work on Dream with us\u201d<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">To which I was like \u201cyeah, that\u2019s fine, just need to finish on GoldenEye\u201d and they were like \u201cno no, you\u2019re finishing GoldenEye right now\u201d.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">So, I moved to the barn where the Dream team was and started working with them.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Speaking of Project Dream, could you dive more into that? Was Banjo originally going to be on the SNES?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Yeah, I never worked on the SNES, just the GameBoy and N64. So originally it was gonna be on the SNES, then just about when I switched to Dream it got switched to the N64. It was going to be a very Zelda like open world 3d exploration game, then I just changed to Banjo.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: How did you approach the sound and music palette for Banjo-Kazooie?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I thought that Banjo-Kazooie were very odd characters, being opposites (like Banjo\u2019s a bit dumb and Kazooie\u2019s a bit snazzy and sarcastic) so I tried to get the music to match that.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I hit on the idea of this tritone thing. It\u2019s the furthest point in a musical scale, so I wondered if I could work it in somehow.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">At the time, I\u2019d been listening to quite a bit of Danny Elfman, and so that kind of gave me the idea for the direction here. I just stumbled upon it really.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">And as it worked well, I just used it through both of the games.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: I love how when you venture into different parts of a level, the music changes in style but stays the same notes-wise. What was the inspiration behind that move?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Yeah, we did the whole channel fade thing. When I first got to Rare, Greg and Tim were very keen for me to play the Lucasarts games (especially Monkey Island) since they loved said games a whole lot. And in the early Secret of Monkey Island games, they had that channel fade thing working like in FM synthesis; not quite MIDI files but just using the FM chip on the sound card. They loved how it worked with the IMUSE system and said they\u2019d love that to work in Banjo. So, when you wander around, the music would change (same tune but a different arrangement based on the area).<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">That meant I had to work out how to make that happen, figured out how it\u2019d sound in my head and then have the coders figure out how to get the software to support it afterwards. Hence all the music for one level would be in one MIDI file, and different channels would play to change the feel of the song in different areas.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Donkey Kong 64 now. What was it like composing music for that game? Obviously, you had a lot to live up to given the great soundtracks in past games.<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Yeah for me I guess I was doing Banjo-Tooie, DK 64 and Perfect Dark at the same time\u2026<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">It was a hectic time that was.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">So, my main thing was to try and keep DK different from Banjo-Tooie. Wanted to make sure it didn\u2019t sound the same.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">And in general, I always thought DK was a darker sounding game. David Wise\u2019s Donkey Kong soundtracks are amazing, but they are quite dark. So, I felt I made DK 64 a bit darker than Banjo, with the toy factory level being quite haunting and the spooky level being quite haunting too. That and Gloomy Galleon.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Q: Could you talk about Perfect Dark? How did it compare to scoring for GoldenEye since it was a spiritual sequel?<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I thought that was different. It was more electronic. The X-Files was very big, and I kept thinking of that and Blade Runner when composing. I mixed orchestra and synth back then, and I tried to make it as good as I could. I really enjoyed working on it really.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Speaking of spiritual sequels, what was your thought process during the composing for Yooka-Laylee, the Banjo Kazooie cousin? You worked with David Wise as well on this correct?<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I think with Yooka-Laylee, the very first track I wrote (the jungle track which they put on Kickstarter), I wanted to make sure that had all the bits from Banjo-Kazooie rolled into one. For the rest of it\u2026 well hopefully I\u2019m a better composer than I was back then, so I tried to keep the best bits from 1 and 2 while adding some new stuff to mix it up.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">David Wise and I have been friends for a very long time, so it was very easy to divide up the music here, and it was obvious which bits would be Dave and which would be me here. Don\u2019t forget Steve Burke did music here too.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">So, we all had a bit of a chat about it, and it was just obvious that since it was in a Banjo style, I should handle the majority of the music. However, for the next games Playtonic do, Dave might do more or Steve might do more, depending on the type of game.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">But yeah, because it was a very Banjo like game, it was very easy to work out the bits I should do and the bits Dave should do there.<\/span><\/p><p><span style=\"color: #000000;\"><b>Q: Who is your favorite composer? Video games or film.<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">I guess video game wise that\u2019s a tough one, but movie wise it\u2019s John Williams. He\u2019s a great one. Like, I\u2019ve listened to his three Harry Potter soundtracks over and over. They\u2019re my textbook that I learn from, he\u2019s such an amazing composer.<\/span><\/p><p>\u00a0<\/p><p><em><span style=\"font-weight: 400; color: #000000;\">Just for fun, here\u2019s a couple video interviews with Grant!<\/span><\/em><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.youtube.com\/watch?v=AtaZ5csXxpc&list=WL&index=11&t=0s\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=AtaZ5csXxpc&list=WL&index=11&t=0s<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.youtube.com\/watch?v=KuZadavWE1I&list=WL&index=10&t=0s\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=KuZadavWE1I&list=WL&index=10&t=0s<\/span><\/a><\/span><\/p><p>\u00a0<\/p><p><em><span style=\"font-weight: 400; color: #000000;\">INTERVIEW SOURCES:<\/span><\/em><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"http:\/\/ocremix.org\/info\/Composer_Interview:_Grant_Kirkhope\"><span style=\"font-weight: 400;\">http:\/\/ocremix.org\/info\/Composer_Interview:_Grant_Kirkhope<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/gamingreinvented.com\/interview\/lets-interview-banjo-kazooie-and-mario-rabbids-composer-grant-kirkhope\/\"><span style=\"font-weight: 400;\">https:\/\/gamingreinvented.com\/interview\/lets-interview-banjo-kazooie-and-mario-rabbids-composer-grant-kirkhope\/<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"http:\/\/www.nintendolife.com\/news\/2017\/07\/feature_ex-rare_composer_grant_kirkhope_on_breaking_mario_and_following_in_koji_kondos_footsteps\"><span style=\"font-weight: 400;\">http:\/\/www.nintendolife.com\/news\/2017\/07\/feature_ex-rare_composer_grant_kirkhope_on_breaking_mario_and_following_in_koji_kondos_footsteps<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.nintendoenthusiast.com\/2018\/12\/19\/interview-rare-grant-kirkhope\/\"><span style=\"font-weight: 400;\">https:\/\/www.nintendoenthusiast.com\/2018\/12\/19\/interview-rare-grant-kirkhope\/<\/span><\/a><\/span><\/p>","_et_gb_content_width":"","footnotes":""},"categories":[69],"tags":[71,70,79,22,25,67],"class_list":["post-209056","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-composer-showcase","tag-composer-showcase","tag-compozly","tag-david-denyer","tag-film-composer","tag-film-composing","tag-music-composing"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Film Composer Showcase: David Denyer - Compozly<\/title>\n<meta name=\"description\" content=\"Learn how to compose music for film and theater with composer David Denyer.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Film Composer Showcase: David Denyer - Compozly\" \/>\n<meta property=\"og:description\" content=\"Learn how to compose music for film and theater with composer David Denyer.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\" \/>\n<meta property=\"og:site_name\" content=\"Compozly\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/compozly\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-08-02T15:00:50+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-08-09T14:52:35+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"900\" \/>\n\t<meta property=\"og:image:height\" content=\"600\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Walt Kruhoeffer\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@compozly\" \/>\n<meta name=\"twitter:site\" content=\"@compozly\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Walt Kruhoeffer\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"27 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\"},\"author\":{\"name\":\"Walt Kruhoeffer\",\"@id\":\"https:\/\/compozly.com\/blog\/#\/schema\/person\/b94c23f828765c685f59d8e36f9925e9\"},\"headline\":\"Film Composer Showcase: David Denyer\",\"datePublished\":\"2022-08-02T15:00:50+00:00\",\"dateModified\":\"2023-08-09T14:52:35+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\"},\"wordCount\":7747,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/compozly.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg\",\"keywords\":[\"Composer Showcase\",\"Compozly\",\"David Denyer\",\"Film Composer\",\"Film Composing\",\"Music Composing\"],\"articleSection\":[\"Composer Showcase\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\",\"url\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\",\"name\":\"Film Composer Showcase: David Denyer - Compozly\",\"isPartOf\":{\"@id\":\"https:\/\/compozly.com\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg\",\"datePublished\":\"2022-08-02T15:00:50+00:00\",\"dateModified\":\"2023-08-09T14:52:35+00:00\",\"description\":\"Learn how to compose music for film and theater with composer David Denyer.\",\"breadcrumb\":{\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage\",\"url\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg\",\"contentUrl\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg\",\"width\":900,\"height\":600,\"caption\":\"Film Composer David Denyer\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/compozly.com\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Film Composer Showcase: David Denyer\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/compozly.com\/blog\/#website\",\"url\":\"https:\/\/compozly.com\/blog\/\",\"name\":\"Compozly\",\"description\":\"The Filmmaker and Composer Collaboration Platform.\",\"publisher\":{\"@id\":\"https:\/\/compozly.com\/blog\/#organization\"},\"alternateName\":\"Compozly\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/compozly.com\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/compozly.com\/blog\/#organization\",\"name\":\"Compozly\",\"alternateName\":\"Compozly\",\"url\":\"https:\/\/compozly.com\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/compozly.com\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/01\/compozly_logo_black-v1.png\",\"contentUrl\":\"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/01\/compozly_logo_black-v1.png\",\"width\":3876,\"height\":1001,\"caption\":\"Compozly\"},\"image\":{\"@id\":\"https:\/\/compozly.com\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/compozly\/\",\"https:\/\/x.com\/compozly\",\"https:\/\/www.youtube.com\/@compozly\",\"https:\/\/www.instagram.com\/compozly\/\",\"https:\/\/www.linkedin.com\/company\/compozly\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/compozly.com\/blog\/#\/schema\/person\/b94c23f828765c685f59d8e36f9925e9\",\"name\":\"Walt Kruhoeffer\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/compozly.com\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/32450d5941a6383a24b8f32ad80a8dbe9b3076337010a7c111675069dccd9071?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/32450d5941a6383a24b8f32ad80a8dbe9b3076337010a7c111675069dccd9071?s=96&d=mm&r=g\",\"caption\":\"Walt Kruhoeffer\"},\"url\":\"https:\/\/compozly.com\/blog\/author\/waltmoney77\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Film Composer Showcase: David Denyer - Compozly","description":"Learn how to compose music for film and theater with composer David Denyer.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/","og_locale":"en_US","og_type":"article","og_title":"Film Composer Showcase: David Denyer - Compozly","og_description":"Learn how to compose music for film and theater with composer David Denyer.","og_url":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/","og_site_name":"Compozly","article_publisher":"https:\/\/www.facebook.com\/compozly\/","article_published_time":"2022-08-02T15:00:50+00:00","article_modified_time":"2023-08-09T14:52:35+00:00","og_image":[{"width":900,"height":600,"url":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg","type":"image\/jpeg"}],"author":"Walt Kruhoeffer","twitter_card":"summary_large_image","twitter_creator":"@compozly","twitter_site":"@compozly","twitter_misc":{"Written by":"Walt Kruhoeffer","Est. reading time":"27 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#article","isPartOf":{"@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/"},"author":{"name":"Walt Kruhoeffer","@id":"https:\/\/compozly.com\/blog\/#\/schema\/person\/b94c23f828765c685f59d8e36f9925e9"},"headline":"Film Composer Showcase: David Denyer","datePublished":"2022-08-02T15:00:50+00:00","dateModified":"2023-08-09T14:52:35+00:00","mainEntityOfPage":{"@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/"},"wordCount":7747,"commentCount":0,"publisher":{"@id":"https:\/\/compozly.com\/blog\/#organization"},"image":{"@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage"},"thumbnailUrl":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg","keywords":["Composer Showcase","Compozly","David Denyer","Film Composer","Film Composing","Music Composing"],"articleSection":["Composer Showcase"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/","url":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/","name":"Film Composer Showcase: David Denyer - Compozly","isPartOf":{"@id":"https:\/\/compozly.com\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage"},"image":{"@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage"},"thumbnailUrl":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg","datePublished":"2022-08-02T15:00:50+00:00","dateModified":"2023-08-09T14:52:35+00:00","description":"Learn how to compose music for film and theater with composer David Denyer.","breadcrumb":{"@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#primaryimage","url":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg","contentUrl":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/08\/Film-Composer-David-Denyer-Blog-Thumbnail.jpeg","width":900,"height":600,"caption":"Film Composer David Denyer"},{"@type":"BreadcrumbList","@id":"https:\/\/compozly.com\/blog\/film-composer-showcase-david-denyer\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/compozly.com\/blog\/"},{"@type":"ListItem","position":2,"name":"Film Composer Showcase: David Denyer"}]},{"@type":"WebSite","@id":"https:\/\/compozly.com\/blog\/#website","url":"https:\/\/compozly.com\/blog\/","name":"Compozly","description":"The Filmmaker and Composer Collaboration Platform.","publisher":{"@id":"https:\/\/compozly.com\/blog\/#organization"},"alternateName":"Compozly","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/compozly.com\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/compozly.com\/blog\/#organization","name":"Compozly","alternateName":"Compozly","url":"https:\/\/compozly.com\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/compozly.com\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/01\/compozly_logo_black-v1.png","contentUrl":"https:\/\/compozly.com\/blog\/wp-content\/uploads\/2022\/01\/compozly_logo_black-v1.png","width":3876,"height":1001,"caption":"Compozly"},"image":{"@id":"https:\/\/compozly.com\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/compozly\/","https:\/\/x.com\/compozly","https:\/\/www.youtube.com\/@compozly","https:\/\/www.instagram.com\/compozly\/","https:\/\/www.linkedin.com\/company\/compozly\/"]},{"@type":"Person","@id":"https:\/\/compozly.com\/blog\/#\/schema\/person\/b94c23f828765c685f59d8e36f9925e9","name":"Walt Kruhoeffer","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/compozly.com\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/32450d5941a6383a24b8f32ad80a8dbe9b3076337010a7c111675069dccd9071?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/32450d5941a6383a24b8f32ad80a8dbe9b3076337010a7c111675069dccd9071?s=96&d=mm&r=g","caption":"Walt Kruhoeffer"},"url":"https:\/\/compozly.com\/blog\/author\/waltmoney77\/"}]}},"_links":{"self":[{"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/posts\/209056","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/comments?post=209056"}],"version-history":[{"count":37,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/posts\/209056\/revisions"}],"predecessor-version":[{"id":209648,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/posts\/209056\/revisions\/209648"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/media\/209063"}],"wp:attachment":[{"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/media?parent=209056"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/categories?post=209056"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/compozly.com\/blog\/wp-json\/wp\/v2\/tags?post=209056"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}