Ring, happy bells, across the snow!

Ring out the old, ring in the new,
Ring, happy bells, across the snow:
The year is going, let him go;
Ring out the false, ring in the true.
– Alfred, Lord Tennyson

Happy New Year everyone! In looking back at the year that’s already vanishing in our wake (BAM! we’re in the latter half of January already!), I find myself thinking about the wonderful people I’ve gotten to work with this past year, and the remarkable opportunities I’ve had. So, before diving into the new year and the opportunities it promises, I thought I should mention some of 2012′s highlights (and accompanying “Thank Yous”), which include several “firsts”:

1. First of all, I have to say, I had a VERY busy summer, and for a big chunk of that busy-ness, I have to send my first massive thank you to director Michael Ray Fox, producer Rich MacQueen, and executive producer Michael Melski, for granting me the opportunity to score my first feature film, Roaming. Roaming follows a young man named Will, as he navigates his way through the struggles that many young people face (most notably around relationships and careers). What makes his struggle all the more compelling is that he also happens to be living with an Autistic Spectrum Disorder.

Rhys Bevan-John in "Roaming"

It’s a charming little ensemble piece, is currently making the festival circuit, and is also an award-winner! Rhys Bevan-John, who plays Will, recently won an ACTRA Martimes award for his performance. If Roaming screens near you, do check it out! Below are a few tracks from the film, including the opening credits and music underscoring a scene later in the film where we watch Will pursue his passion, creating video games. All these tracks capture something, I think, of the awkwardness and drifting melancholy of this unique character. I won’t ruin the story by telling you any more, but please enjoy the tunes!

2. The summer of 2012 brought other new opportunities as well, so a big shout out of thank you to Mr. Tim Perry at theREDspace, who brought me on board to compose music for their game Contraption Max. This was a venture into terra incognita for the team – they have a wealth of experience developing games and applications for other clients (including Comedy Central, Harper Collins, Nickelodeon, and YTV) but had never developed an entire product in-house from conception to delivery. The game will be ready for unveiling some time later this year, but you can find some more information about it here. Below are a few samples of tracks written for different game levels.

3. Another first! Thank you to Lisa Phinney Langley and Ardath Whynacht from PHIN Performing Arts for the opportunity to create a soundscape for a dance project, something I’ve not done before! This past October, they created an original piece for Halifax’s one-night-only arts festival, Nocturne. Based on both historic events and Edgar Allen Poe’s “The Masque of the Red Death”, “Oh, Green Hill” was a dance piece based on a dark chapter of Halifax history. In 1866, passengers of the S. S. London suffered an outbreak of cholera, and were quarantined on Green Hill, located on McNabb’s Island in Halifax Harbour. Ardath’s spoken word component of the piece interpolated contemporary journalist’s reports of the event with lines from Poe’s work to create a verbal mosaic capturing both the suffering of the plague victims and the cold, willful ignorance of both Prince Prospero and the authorities who sentenced 200 of The London‘s passengers to a lonely death in clear view of what must have seemed to be an uncaring New World.

Phin in rehearsal for "Oh, Green Hill"

Phin in rehearsal for "Oh, Green Hill"

The dance, performed by Sarah Rozee, Lisa Phinney Langley, Veronique MacKenzie, Kym Butler, Sheilagh Hunt, and the Young Company of Halifax Dance was an eerie evocation of the passengers death throes, and it felt very much at the time as if their restless spirits were haunting Parade Square. It was a very effective performance, especially after dark, as the Autumn chill started to settle in. Here’s a small sample of the soundscape that accompanied their performance.

4. Thanks also to the mighty directing and producing duo of Vicki Donkin and Colin Tanner! Their dark little fable of seedy hotel room trysts Irene was a pleasure to score, and gave me the opportunity to explore some fairly dark and disturbing textures. After a successful screening at this year’s Atlantic Film Festival, the film is travelling in February to The Dam Short Film Festival, in Boulder City, Nevada (somewhat fittingly, given the film’s subject matter, just outside Las Vegas). Here’s a taste of Irene:

5. My final “first”, and thank you once again goes to the PHIN gals Lisa and Ardath, who placed a not-inconsiderable amount of trust in me not just once, but twice this year! Prior to the Nocturne piece, I was asked to edit some music composed by the estimable Sageev Oore (with spoken word elements written by Ardath) for a dance piece entitled “Analogy for Solid Bones”, which was performed at the National Arts Centre in Ottawa in July. If there’s anything I’ve learned this year, it’s that the creation of music for dance is possibly even more seat-of-the-pants than film scoring, as there can be a lot of sudden changes and deletion and rejigging of elements – exciting stuff, and I’m thrilled to have been given the chance to work on something like this! Here is a video sample of an earlier version of the piece – it’ll give you a sense of both the skills that Lisa and her company bring to bear and a taste of Sageev’s music.

6. There’s something unique coming your way in 2013, but it’s origin goes back nearly a year! I am an associate member of a very fine organization, Women in Film and Television Atlantic (I cannot, for biological reasons, be a full member – due to my eye colour, maybe?). As a gesture of support to the group, I was a sponsor for their “Women Making Waves” conference last year, and donated time to work with a door prize winner on a film of her choosing. The winner (supposedly) was Dawn George…and I say “supposedly” parenthetically because the fact that I have gotten to work with her has left me feeling like I came out much further ahead than her. Her film “Adaptation” will be unveiled in the coming months, and is a fascinating piece about the subtle – and sometimes not so subtle – ways that our environment might be changing us. I will save the pleasure of discovery for another time, but Dawn has allowed me to share a few seconds of music for the film…this has been a fun project, full of lots of improvised juxtapositions of odd textures (both synthesized and organic), and here’s a preview of what we’ve been up to!

7. Finally, and as always, a big thanks to my compadres at Curve Productions Inc! The musical contributions I was able to make to Lara Cassidy’s National Screen Institute short “Fridge Magnet Poetry” and Steve Richard’s promotional video for his photography series “The Sensual World” were, as always, delightful experiences.

So, those are the highlights of a most remarkable year! Thank you again to everyone who made this the banner year it was, and thanks to every one of you good people who are reading this! May each of you know nothing but peace, prosperity, good fortune, and the good grace and wisdom to appreciate it – me, I can’t wait to see what 2013 brings!



All the News That Fits…

Hi friends! What can I say? I have an incredible amount of admiration for those souls who are able to maintain a weekly blog in the midst of their workaday existence – I’m even more humbled when I look at what I’ve got going on here and I see my last update was – mother of mercy! – June 10th. By way of apology/explanation/shameless self-promotion, allow me to offer the following quick summary of what’s been happening at HQ.

Well… there’s been a lot! In addition to the work I mentioned in my last entry (the music editing for Phin Performing Arts, for their piece Analogy for Solid Bones, which was recently performed at the Canada Dance Festival in Ottawa and scoring a short film, Irene, for director Vicki Donkin), I’ve also had the opportunity to work on a few exciting projects with new partners!

First, I’m tickled to report that I’ve written music for a casual video game, “Contraption Max”, soon to be released by Halifax area developers theREDspace. You can learn more about it here! Also, the Evil Twin has just achieved a very significant personal milestone – we’re delighted to report having composed the music for a feature-length film, Michael Ray Fox’s “Roaming”. You wanna see a trailer for this very sweet story? We can do that!

Expect to see this lovely little film hitting the festival circuit very soon. But wait! There’s more! The very, very coolest, and most unexpected news came very recently, when I was informed that I’ve been shortlisted for a Slaight Music Residency position at the Canadian Film Centre. What would this mean? Basically, it would give me a very unique and invaluable 9 months of learning, working, and networking through the Centre -the program affords residents opportunities to work with film industry professionals on a national and international level, as well as mentorship under one of Canada’s most successful film composers, Mychael Danna (“The Sweet Hereafter”, “Little Miss Sunshine”, the upcoming “The Life of Pi”).

So, like…holy *#$#*!

Anyways, suffice to say, we are, as the British say, chuffed! And this is all without even mentioning that Festival season will soon be upon us, so I’m hoping to have some tales to tell from there as well!

At any rate, all this talk and no music hardly seems fair, so I figured I’d close this up with a special treat – here’s a sneak preview of one of the tracks for “Contraption Max” – I’ll let you all know when the game is ready to be released so you can check it out for yourselves. In the meantime, here’s a hint of the fun and mayhem to come! Click on the link below to check it out, and as always, notes, greetings, queries, repostings and well-wishings are always welcome! Drop me a note here or by email at chris@eviltwinmusic.ca, or, as always, I can be found on Facebook here…and Twitter, right here!

The Big Brawl


Where does inspiration come from? Most would agree that it comes from a variety of sources, some easily identifiable as being the within the realm of the artist (a chance encounter with a person, place or object which resonates for some mysterious reason; an event in the news; an emotional state; a fragment of music or dialogue from a film) and some of them a little more prosaic (“I got paid to do it”; “We had a time limit”). Out of all these forces, some pretty amazing stuff can emerge!

Which brings me to the point of this little missive. A few weeks back I was lucky enough to take part in The Halifax Game Jam, an event that falls, inspiration-wise about 50% into the first camp, and about 50% into the latter (at least the “time limit” part; not so much the “getting paid” part). The Game Jam (brought to Halifax thanks to such sponsors as Twisted Oak Studios, Longtail Studios, Silverback Productions, Codapop Studios, Huminah Huminah Interactive, theREDspace, Nova Scotia Business Inc, The Hub, Redline, The Norman Newman Centre for Entrepreneurship, and Community Business Development Corporations) is a 48 hour event that brings together game designers, coders, graphic artists, musicians, and game aficionados for a 48-hour challenge: to create teams to build functioning games within two full days. I took part in my first one of these in the summer of 2011, and had a terrific time (the results of that weekend can be seen here). I think the best way to describe the weekend is alternately exhilarating (“Can we get this thing done in time?” “Hell yes we can!”), frustrating (there’s nothing like the reality of what is actually doable in 2 days bumping up against your ambitious Friday night brainstorming), and humbling (“Holy crow, there are some talented people out there!”).

Here's the poster for the event...sexy, mais non?

There are very few ground rules other than the time limit, although there are attempts to set certain parameters around the games (e.g. certain themes that the games should try to implement). In this year’s session, the themes randomly drawn included: “fantasy role play”, “beatmashing”, “show tunes”, “coyotes”, and, most enigmatically “divide by zero” (which only now makes sense to me; that’s why I write this stuff, so I can make sense of my world). This year’s crop of games addressed these strictures in a variety of fun and creative ways – and I have to say, one group even defeated assumptions by creating an old-fashioned card game, not a computer game!

Teams are formed in various ways. In some cases the teams come together because people are friends and co-workers in their day jobs (the event has a great blend of game development professionals, hobbyists, and students), and in some cases they end up working together as a result of a kind of frenzied “speed dating”/”networking” where people try to snatch up enough people for their teams to make sure that all the bases (programming, visual design, game play, story, and music and audio) are represented. We lucked into a couple of folks who more than ably handled the programming end of things, my old friend and fellow New Brunswicker, Mike McGraw from theREDspace and Alex MacCaull. And I should mention right now, that a huge debt of thanks is extended to the lovely Ms. Angelina Coccimiglio, whose boundless energy and photographic skills captured all the activity all weekend!

Mike McGraw, Team Kpinga's Game Engineer! Tooot tooot! (Photo courtesy of Angelina Coccimiglio)

Alex MacCaull, Team Kpinga's Sound and Credits Wizard

Alex McCaull, Team Kpinga's co-coder, and Sound and Credits Wizard (Photo courtesy of Angelina Coccimiglio)

Next to come on board was Gavin Crawford, who brought the concept for the game. In fact, he came prepared with a complete Power Point presentation about the Zande warriors of the Congo, and of their weapon of choice, the Kpinga (the construction of which is part of a Zande’s rite of passage into manhood). His research became the core of the project, and gave us all the focus we needed. His friends Jay and Jericoe States also contributed some very cool ideas around the structure of the opening screen music! Finally, we were fortunate enough to collect Ms. Courtney Johnson into what became “Team Kpinga” and we were underway with the development our game, which Mike coined “Kpingapong” due to the way a player was ultimately able to bounce the weapon off of elements in our young protagonist’s environment.

Gavin Crawford, Researcher, Story Creator, and Weaponsmaster (Photo courtesy of Angelina Coccimiglio)

Courtney Johnson, Visual Design Queen with Her Court Assembled (Photo courtesy of Angelina Coccimiglio)

And so we set to work -the details of the next two days really wouldn’t be all that compelling a story to those who weren’t there, but I can tell you a few things I took away from the experience. Not so much things I learned, as things that were reinforced.

1. Teamwork is essential; what we did as a group, with everyone pitching in wherever they could, whenever they could, yielded a great deal of success!

2. Patience and a sense of humour is indispensable. We all learned a lot from one another, and had a ton of fun in the process!

3. I felt that I created some appropriate music – with more time there would have been more variability and different themes and tempos, but I’m pretty fond of the little sonic world that Alex and I (and our other collaborators, Jay and Jericoe States, who brought some great ideas to the music you’ll hear at the very opening of the game) created. Given the visual charm of Courtney’s work, I feel like the music is at times a little too serious and epic, but that’s where working in the same room with your collaborators can make a difference. I created the music in the studio, and was so immersed in my work, I had only the broadest sense of how the game would ultimately look, so I was scoring the game in my head, not the one on the screen. Still and all, things came together far better than we could have imagined, and you can download the game to play on your own machine here.

Although it looks on screen (it is the third game down) like you can either play it directly on your browser or as a download, for the moment you can only download the game as a .zip file. Simply download, unzip the folder someplace where you can find it, and click on the file called “KPingaPong”. It will then open on its own in your browser. If, however, you’d just like to hear the music I put together, you can find that right here!

If you’re curious about other stuff I’ve been up to, you can find some that here in my “Samples” section – you can hear stuff freshly uploaded if you visit me on Soundcloud (or “Like” my Evil Twin Music page on Facebook).

4. It’s not always easy to keep within the assigned themes, but we did our best. While I never quite accomplished “beatmashing” in a true DJ sense, I did create something of a “dance mix” of the theme starting at around 1:58. For the record, I also did a “show tunes” version of the theme, but out of respect for the estates of Richard Rogers and Oscar Hammerstein (and Canadian copyright law) I am not sharing that version online. I’d be happy to play it in person for you, though. ;^) Major kudos to Courtney for managing to insert a giant coyote into the “you win” screen (and there’s your incentive to download – and beat – the game!).

And so, another Game Jam came to a close – here’s a final shot of Team Kpinga, tired yet victorious! Here’s to the team, and here’s to inspiration coming from unexpected places!

Hail Team Kpinga! (Photo courtesy of Angelina Coccimiglio)

I’ll be back soon talking about the other amazing event I took part in this month, Women in Film and Television – Atlantic’s Women Making Waves conference. Until then, friends!

Collaborations both Old and New

Hey guys! Two things of note this week. First of all, for those of you fortunate enough to have TCM as part of your cable subscription (sadly, not me), here’s some news about some very cool programming. I make no bones about it, hands-down my favourite film composer of all time is John Williams. There are others who are, perhaps, more eclectic in their instrumentation or compositional styles (Thomas Newman comes to mind), or who have cornered a niche and style so thoroughly they’re almost a genre in themselves (hello there, Danny Elfman!), but for sheer “goosebump moments”, I can’t think of anyone who’s contributed more to the art of film composing, having managed to make both great films into iconic pieces of pop art, and elevated so-so films into something truly memorable just through the power of his music. The actual screening date for this episode of “The Art of Collaboration” has already passed, but I’m assuming that reruns are plentiful on TCM, so you might want to keep an eye out for this (I’m counting on it screening over the holidays, when I will be around folks to have TCM…yes, I’m looking at you, father and sister). Looks terrific!

Introduction to the Art of Collaboration

Oh, and I have an additional little treat I want to share with you all! My good friend from New Brunswick, author and illustrator Tony Bastarache, took it upon himself to make me a mascot! Well, actually he made me mascotS. Here’s what the man (totally unsolicited, I should add…as in the case with the “Wheel of Fate”, I consider myself very blessed to have such generous friends!) came up with:

"Mad Scientist" Evil Twin

"Mad Scientist" Evil Twin

"Mad Conductor" Evil Twin

"Mad Conductor" Evil Twin

Nifty, huh? I’ve added a poll to my Facebook Page asking which one people prefer, and I’ll toss the same question out here. If I had to go with one official Evil Twin character, which would you choose. Either offer a comment below or drop me an email with your favourite (“Mad Scientist” Evil Twin vs. “Mad Conductor” Evil Twin…or is there a third variation you think would be even better?), and I’ll announce the final decision early in the new year!

Incidentally, Mr. Bastarache is busy preparing his children’s books, but is hoping to have an official website and blog running very soon. In the meantime, if you have any words of encouragement or messages you’d like to pass along, please let me know, or post them here – he follows the blog, so will be delighted to hear from you!

And that’s it for this week…see you in December, folks!

Post-Festival Recap, Part Two!

Hey everyone!

As promised, and while it’s still relatively fresh in my head, I thought I’d share a bit more about how Evil Twin spent his days and nights at the 31st annual Atlantic Film Festival. This is, regionally speaking, the film industry event of the year, and for ten days the intersection of filmmakers, musicians, actors, and producers makes for a pretty heady environment. Not as overwhelming as TIFF, not as cosmopolitan as Tribeca, not as hipster-cool as SXSW, and not as Southern France-ish as Cannes, the AFF is still a great event that draws talent from all over the world, and provides some great opportunities for shameless celebrity spotting (Look, there’s Lana Lang having breakfast! Look, there’s Peregine Took buying popcorn! Look, there’s Pierce Brosnan..wait, why is he still here? Bag of Bones wrapped two weeks ago…) along the way.

The first weekend of the festival was probably the busiest I’ve ever been during the Festival – in fact, other than the opening night screening on Thursday, I only managed two other screenings between Thursday and Sunday (far below my usual daily Festival average of 2-3 a day), but what was going on was far more fascinating and enjoyable. On Saturday afternoon I moderated a session hosted by the Screen Composers Guild of Canada called Knowing the Score: the Reality of Preparing for and Planning Music for your Film, which was attended by a wonderful crowd of musicians interested in learning a bit about the craft of film scoring. Our guests, Marvin Dolgay (president of the Guild), Bob Hunka (SOCAN’s man in Hollywood), and Asif Ilyas were eager to share their knowledge and perspective with the group. It was great to see John Mullane from In Flight Safety there in particular, as the film he scored, Charlie Zone, ultimately went on to pick up a slew of awards by festival’s end! Here are a few pics, which you can click to, as they say on Ain’t It Cool News, embiggen (all images Copyright Chris Geworsky, 2011) !

Your host and quizmaster, making introductions

Asif, Yours Truly, Marvin, and Bob with our guests

Screen Composers Guild of Canada President Marvin Dolgay - this man knows his stuff!


On Sunday there was another big Guild event, this one once again involving the estimable Asif Ilyas, who brought in a very sexy portable scoring studio setup in order to demonstrate the collaborative process with the Hitchcock-to-his-Herrman, the Spielberg-to-his-Williams, the Eisenstein-to-his-Prokofiev (two more self-effacing men you will never meet, so I can literally hear them rolling their eyes as I type this sentence), director Rohan Fernando, with whom he scored two films in the festival this year, the drama Snow, and the documentary The Chocolate Farmer. They spent an afternoon sharing stories and describing their workflow, all filtered through a series of pointed questions posed by Marvin Dolgay. Here are a couple of shots from the afternoon, again captured by the talented Chris Geworsky:

Asif, expounding

Marvin, Asif, Rohan, and sexy gear

Rohan and Asif, Collaborators

It was a great experience, and the attendees (again, including primarily composers with lots of different levels of experience with film scoring) had a great time, after which we all had the opportunity to hang out at a Screen Composers Guild-hosted social event at Niche. Good conversation, gracious guests, sexy hardware…or was it gracious hardware and sexy guests…either way, what’s not to love? A special congratulations to Asif and Rohan for their essential roles pulling this event together under a tight schedule and challenging circumstances, and an extra-special congratulations to Asif for, days later, winning the AFF award for Best Music for Snow!

The evening was capped off wonderfully by finally getting to see a film I scored, Omaha Fly By! Working on a film for weeks (or in the case of the film’s wonderful producers and actors, for possibly even longer) can cause a person to lose sight of what works and what doesn’t, so it was really gratifying to watch it with an audience who laughed at all the right spots and who seemed to get into the film’s quirky groove pretty readily. Kudos to everyone involved in bringing the film to the screen! If you missed it during its screenings during the Atlantic Film Festival, you can catch it next at the Silver Wave Film Festival in Fredericton, New Brunswick (November 3-6, 2011). I’m planning on attending, and looking forward to seeing new and old friends there in the process!

And with that, I’ll be closing this week’s log entry – Until next time, a big air kiss on each cheek to each and every one of you! ;^)

Until next time…


- Chris

Post-Festival Recap, Part One!

Ah, the best-laid plans of mice and media composers… I know, I promised that I would offer semi-regular updates from the trenches during this year’s Atlantic Film Festival, but the fact of the matter is that I got quite swept up in the fun of it all…

Me looking insanely happy at the opening night AFF party, but it's just Diet Coke in the cup, honest! (Photo: Stoo Metz, 2011)

…and figured I’d be better off sharing some of the highlights with folks once the dust had settled. So, the next couple of blogs will address what went down with Evil Twin Music over the 10 days of the festival.

First of all, I’ve had a few friends ask me if I saw any good movies. A fair enough question, but the fact is, I was busy enough that I saw surprisingly few movies…fewer this year than any other year, in fact. It wasn’t because I didn’t want to, though, or that the choices were slim…quite the opposite! Often things I wanted to see were screening simultaneously, so I had to make my best guess and hope I chose well! Also, I must admit that I was kept quite busy with Screen Composers Guild of Canada activities, and was hanging out with good friends and fellow filmmakers much of the time too! We have such a wonderful family of filmmakers here on the East Coast, and I’m proud to call many of them friends, people I genuinely like hanging out with! That being said, I did get to see some good films, and here are a few of the Festival Highlights for me:

The Films

As always, there was quite a varied lineup, and I managed to take in a little bit of everything, including:

- the very moving, entertaining, and educational Project Nim was my favourite film of the festival. It covered Herbert Terrace and his team’s 1970s work on language acquisition in primates, and specifically, the story of Nim Chimpsky, a chimp raised in a human household, in the hopes that his learning language would occur as naturally as it would for a human child. I knew the broad strokes of the story well from my undergrad days, but wasn’t prepared for the Machiavellian power plays (political, sexual, and with the media) that Terrace brought to the party, nor the sheer, self-serving hippy-ness of some of the researchers. Parts of it reminded me of Werner Herzog’s Grizzly Man, and I could only imagine Herzog watching the film and rolling his eyes as one of the team members described her shock when her maternal efforts resulted in Nim (as an increasingly aggressive adult male chimp is wont to do) trying to (nearly successfully) eat her face. Special shout-out to composer Dickon Hinchliffe, who wrote a combination of some lovely, 70s-flavoured underscore, as well as some powerful, shiver-inducing bigger orchestral cues for some of the more tragic moments. Wonderful stuff, and a guy to watch out for (though he’s no newcomer, and was also a founder of the British orchestral pop band Tindersticks).

- Pedro Almodovar’s latest, The Skin I Live In, which had some of the same eye-poppingly colourful cinematography as his best work, and all the melodrama. Unlike more recent films like Talk to Her or All About My Mother, “Skin” leans more towards simply “dark” than “dark humoured”. Don’t get me wrong – I liked it a lot, and I never thought I’d see something approaching an Almodovarian spin on the whole “torture porn” genre (no, it’s not that gory, but when you’re dealing with a story about a mentally unbalanced plastic surgeon, you know there are going to be some squirmy moments), but overall, it’s not as much fun as some of his earlier films. Still stylish and always interesting, but a little less fun. Again, a nod to frequent Almodovar collaborator Alberto Iglesias for a shivery and propulsive score. If Bernard Herrman was Spanish (and alive) he might be writing film music like this.

- the very funny Irish film, The Guard, with tremendously engaging performances from Brendan Gleeson and Don Cheadle. This one could have been a standard “fish out of water” tale like we’ve all seen before, but – heck, actually it is a standard fish out of water tale, but the performances and writing are so sharp, you end up not minding in the least. The heavy Irish accents are a bit of a challenge (especially in the mix I heard at The Oxford, not a paragon of acoustic virtue to begin with), so I’m actually looking forward to seeing this one again once it’s released for home viewing. Calexico’s score was odd, but well-suited for a story about a character who was 80% blarney and 20% brilliant, and who fancied himself as almost a Sergio Leone-esque antihero.

- some local gems as well, including the opening and closing gala presentations, Roller Town, courtesy of local comedy troupe Picnicface, and Mike Clattenburg‘s Afghan Luke. Mike’s film is playing at the Oxford as I write this, so I encourage you to check it out. Roller Town’s distribution deal is, as I understand it, pending, so I’m pretty positive it’ll be playing at local theatres in fairly short order (if anyone knows the details for sure, please chime in in the Comments section!)

I saw some wonderful shorts as well, but will save a few words on those for next week’s blog, as well as share some of my experiences at the various Screen Composers Guild of Canada events (hopefully with further thrilling visual support, courtesy of official AFF photographer, Chris Geworsky.

So, stand by – more to come in a few short days!

Festival Time!

Happy Monday, Everyone!


There’s a definite feel of Fall in the air as I write this – the air is cooler, night falls a bit quicker than it did even a few short weeks ago, and all hands are on deck for the 31st Atlantic Film Festival, which opens this coming Thursday, September 16th. I’m proud to be taking part in the festival this year, in many capacities. First and foremost, I’m a delegate representing The Screen Composers Guild of Canada, which means I’ll be helping my good friend Asif Ilyas from The Shire to get a number of events organized! A few personal highlights for me over the next several days include:

- Next week (Sunday September 18th at the Delta Halifax at 1:00 PM), Asif and director Rohan Fernando will be holding a Master Class on film composing, using Rohan’s films “Snow” and “The Chocolate Farmer” as case studies in developing music that is psychologically and emotionally appropriate for a film. Unlike previous Master Classes, there’s no application process – all are welcome to attend, so if you’re interested in all in film scoring, this will be something to check out! More details can be found here.

- Also next week (Saturday September 17th at 12:15 PM) you can check out “Knowing the Score: The Reality of Preparing for and Planning Music for your Film”, a panel discussion I’m moderating, with guests including Asif, Marvin Dolgay (president of the Screen Composers Guild), Bob Hunka (a well-respected music supervisor and SOCAN advocate in Los Angeles) and a surprise guest or two! Come to this event as well, if only to watch my intense discomfort at sharing the stage with such talented and articulate advocates for our art! Check out more info about it here.

- Finally, in the realm of shameless plugging, I need to make mention of a short film from New Brunswick that’s screening at the festival twice this year, and that I was very blessed to have the opportunity to score! Omaha Fly By is a fun little comedy directed by Joel Thompson and very ably produced by my buddy Lita Llewellyn. There’s so much I’d like to say about this film and the wild mix of elements in it that made it so much fun to write music for, but I’d far rather have you discover it for yourself, so do come see it! Here’s a link with more info. The promotional picture on the website is pretty apt, and maybe gives you an idea of the ride you’re in for.

I’ll be trying, as often as I can, to do some microblogging and photo sharing from the festival, so please come join me virtually (or in person – I hope to see some of you there!) either by following me on Twitter or Facebook . I’m not going to be one of THOSE people, with their head constantly buried in their phone – I want to talk with people and soak it all in, but when I have a moment, I’ll be taking a few snaps at the very least, and will be eager to share them with you!

Have a great week folks! Over and out!

Tap tap tap…is this on?
Testing testing… Which button do I… Ah, there it is! Splendid!

Greetings friends, collaborators and co-conspirators both new and old! This is Chris Pauley here – I can’t tell you how thrilled I am to be writing the inaugural blog entry for my new website & company, Evil Twin Music! Actually, allow me to rephrase that – in truth, this entry’s purpose is exactly that: I actually can, and am here to tell you how very, very excited I am to be finally able to share some of my film, TV, web, and game music (and, sometimes, the images that go along with them) with you in a public forum.

As a composer, producer, writer, and creator based in Halifax, Nova Scotia I am always on the lookout for new opportunities to collaborate with media producers and to create music and sound for film, TV, games, phone applications, radio (or any other media you may imagine). So, having the chance to share and interact with the world in a manner such as this (apparently this “interweb”, as it is commonly called, has caught on, and is not likely to go away soon) is a privilege, and not one I intend to take lightly.

Over the coming weeks, I will be adding new material to the site, and hope to present, once a month, a new, short video sample highlighting work I’ve done, where my music has been matched against visuals. You will also find examples (both audio and audiovisual) of my work in the section of the website conveniently labelled “Samples”, so please do check them out. I’ve broken the material there into categories – you can hear music for commercials, for film & TV, and for games and other media (or just odds ‘n’ sods that don’t fit elsewhere). After you’ve taken a listen, please feel free to send along any comments, suggestions, requests for material, or inquiries about how we might work together to chris@eviltwinmusic.ca; I’d love to chat with you!

So, once again, welcome! I’m looking forward to getting to know you better, and hope you feel the same! Before I go though, in closing this first dispatch, I feel it might be appropriate to address a couple of questions I am often asked:

“Chris”, people ask me, “why Evil Twin? Are you really evil? Do you have a twin?”

Nah, maybe that can wait for next time.

Ok, so is this how I turn this thing off? No? How about th-