But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.
I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.
As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.
But things can happen in a band, or any type of collaboration, that would not otherwise happen.
I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.
With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.
I'm from all over the Northeast.
Then I took 8 years of French Horn, first jazz, and then classical.
And when that's working, the sum can be greater than the parts.
Unfortunately, however, I have too many desires to make a good Buddhist.
First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.
Also, differences of opinion can be creatively stimulating as well as frustrating.
And I definitely have an affinity with the piano.
I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
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