Composing for Puppies

In July of this year I had the opportunity to compose for my first full length feature film, a romantic comedy called Three Holiday Tails produced and distributed by Mar Vista Entertainment. The movie is set at Christmas time (as you might guess) and involves a clever golden retriever and three puppies that, through a series of mischievous events, are able to help reunite the main character with the love of her life. It's a charming little movie that in many ways proved to be the perfect film for one's first feature, though it was not without its challenges.

For starters, the timeline. The film was spotted on July 17. The production company needed a final score delivered by August 1st. Now two weeks is bad enough, but when I factored in time for recording and mixing, that time shrunk to 1 week. One week to write 40 minutes of music. It sounds impossible, but the truth is that composing a truck load of romantic comedy-style music is not terribly difficult, provided you have solid themes on which to derive every cue. Don't get me wrong, 2 weeks is NOT enough time to write a feature, particularly when one needs to record live people. But, it certainly is doable when you have the right plan and the right people in place.

Second challenge is, as always, the budget. I don't wish to divulge a specific number here, but suffice it to say that though it was the biggest budget I had ever been given, it still required a lot of clever maneuvering to get what was needed. Many of you reading will know what I mean when I say that this was a "package deal" - that is, I was given a fixed sum of money and it was up to me to spend it. Whatever I don't spend, I get to keep as my fee. There are many composers in my position who would just go all in and spend their entire budget on the production. I, however, need to eat. :) For live players, most composers would agree that money is always best spent on live strings before anything else. So I decided that my session would consist of just strings. Other sounds (like guitar and woodwinds) I would piece together Tom Newman style in smaller sessions. All said and done I had less than $2000 to spend on a recording session. With the help of my stellar music contractor, I managed to get 11 players for 3 hours with studio and engineer for $1800. Pretty damn good if I do say so myself. And because I am constantly surrounded by incredibly talented people, I was able to farm out my guitar and clarinet parts to my good friends Sam and Alexis, who recorded in their studio while I was finishing other parts of the movie. Between them, the string session, recording live flute in my bedroom, and getting a good mixer on board, I would have a score.


So with the logistics of recording in place, it was time to actually write the music, but before that could happen I realized I would need help keeping track of everything else - things like spotting notes, picture changes, all the elements of the score that would not be recorded, session prep for recording and mixing, cue sheets, etc. All of this adds up to a music editor. For you composers reading this, heed my words when I tell you that hiring a music editor is the smartest thing you will ever do, especially on an absurdly tight deadline. I happen to be really good friends with Joseph DeBeasi,  a very accomplished music editor in addition to a great composer. Not only was he happy to join my team, but he proved to be utterly invaluable to me during my whole process, from taking spotting notes to creating protools sessions and take lists for my recordings. Amazing.

NOW I was ready to compose, and compose I did. I had two main themes, one for the relationship between the two main characters (the love theme) and one for the engagement ring, which had a life and back story all its own. There was also a motif for the dogs as well as recurring comedic/action material that I used to fill in, you guessed it, scenes of comedy and action. Between these four main chunks of musical material, I had my entire score... I just had to write it. One of the challenges for me as a composer is recognizing just how simple any given task can be. When you sit down and there is 40 minutes of picture staring at you, it's overwhelming. I spent a lot of time running away from my computer and walking around my neighborhood just trying to comprehend the mass of what I was doing. But, when I actually sat at my computer and focused on a cue, I realized I already had all I needed and all I had to do was cleverly draw it out. Below was perhaps the most challenging cue in the movie for me, mostly because there was so much that had to be encompassed in such a short time. It was also one of the first clips that had to be written for promotional purposes, which meant that it would govern similar scenes through the rest of the movie. When you watch you'll hear a familiar christmas tune, comedic material, the puppy motif, action music, and if you're really clever you will gather a little hint at the ring.

Some of you composers might be wondering how one gets an entire score approved in a week's To add one more level of excitement to the mix, I discovered early on that my director would be out of town for the entire time I'd be writing the score. And of course there were producers to go through as well. The answer? Dropbox. I got my director and my producers on dropbox and posted cues as I had them ready. They all conferred and my director would send me emails of bulleted feedback for each cue. So essentially I created a workflow. I would compose new material through the day, post the cues once they were finished, then address changes for previously written cues in the evening and post those before going to bed. I was supremely lucky to have an incredibly gracious and supportive director/producer team who made my job so much easier.

As is true with many creative processes and projects, the end product is almost always worth the battles (internal and external) one has to fight to get there. This was absolutely true of Three Holiday Tails. Yes it was grueling. Even as I think of it now I am both horrified and excited to ever return to the state of mind I was in. But the truth is that it is simply part of my job.

A Summary of Lessons Learned and Re-Learned

1. You are only as good as the people on your team.
2. Music editor = life
3. Your final mix can make or break your score. Don't skimp on a good mixer.
4. Never underestimate the positive impact that even one live instrument can have on your score
5. Take nothing for granted. Put everything you have into every project you do.

Below is a selection of tracks from the movie. Check back as I'll be adding more once I have them ready.


  Three Holiday Tails by Dave Volpe

Virgin Eyes (New Tracks!)

I had the pleasure of spending several weeks in August creating a score for an AFI student thesis project called Virgin Eyes directed by Roxine Helberg. One of the benefits of working on short films is that their concise stories and often intimate musical needs present a canvas on which one can create something completely unique and flavorful. That was certainly the case for Virgin Eyes, which was shot beautifully on location in Bel Air. In addition to the film itself being full of luscious imagery, Ms. Helberg provided a temp score filled with music I had never heard before including a band called Gotan Project, a Parisian tango-fusing trio that is self described as the "consummation of tango and electronica." In discussing her temp score we arrived at a palette that would blend a gypsy feel with electronic elements. Several of her tracks used accordion, a scintillating flavor that made its way into the score along with solo viola and guitar. Originally the idea was for violin, but I made a case for the darker more sultry tones of the viola, a very under-appreciated instrument that I felt would give the film yet another layer of unique color. And let's face it, every holocaust movie incorporates a solo violin and everything else uses a solo cello (no offense, musicians, we love you), so why not explore something new? The finished project was nothing short of delicious.

A valuable lesson was learned from this film. While temp scores are very often evil things that composers have to deal with, they can sometimes be a fantastic jumping board from which to leap, particularly if it opens new compositional doors and gives insight into what the director wants. This was Ms. Helberg's first time working with a composer and I'm happy to report that, though she was very much in love with her temp, the walls of her mind were blown away when she sat down and experienced what an original score with live players can bring to her film.

Hope you enjoy!

  Virgin Eyes by Dave Volpe

An Unexpected Day of Inspiration

On June 12 I had the tremendous pleasure of having my music heard in three short films at the Playhouse West Film Festival. PW is actually an acting school and, in my opinion, one of LA's best kept secrets. As I do with all festivals, I approached it with little or no expectations as one never knows what one is getting into with these sorts of things. I am happy to report that what I was discovered was a warm, supportive, talented, and enthusiastic community of artists that ended up being a tremendous inspiration.

Of the three short films I had showing, two of them were done for Wolfgang Bodison, an actor turned director and teacher at Playhouse West. Wolf's fame The third was one you've heard a lot about on this blog, The Visitation directed by the amazingly wonderful and talented Cameron Young. For a composer like me, the benefit of film festivals such as this is using the exposure one gets by having their music showcased to network and make connections to more films. Often as composers we are the ones who are pushing ourselves and our music wherever we can. Even the smallest bit of exposure, like having a film at a festival, makes this job exponentially easier because we have some leverage - something to start with. And if you're lucky you may even be approached. But any composer will tell you that even then it can be a challenge.

When I first got to the theatre I immediately knew this festival was different - the energy was electric. I could tell this was a close knit community. There was cheering, whooping, hugging - overflowing with love and support. It really surprised me. Because Wolf and I had such a good relationship and because he happens to be a big wig at PW, he had me up on stage for Q&A for two different segments. I felt a little silly at first, but then I realized I was the only composer on stage in front of a room full of actors, writers, and directors - how can that be bad? During the first segment I was actually asked a question, much to my shock and amazement, so I was able to speak about the compositional process, and, in my oh so trademark way, I even got laughter and applause. I soon learned that not only was I the only composer on stage, but I was the only composer they had EVER had at one of their Q&A sessions. Combine this with the fact that I had three films at this festival and you have a recipe for outrageous exposure and networking. I literally had people running up to me asking me for cards, which I promise you NEVER happens. I was at lunch at a restaurant down the street and I kid you not, I kept being stopped by people saying "excuse me, you're the composer" - um, hell yes I am!

I realized that I could not leave this event. I was given a badge and I ended up staying through several more segments and into the award ceremony. One of the films I worked on, "Simone", was awarded the grand jury prize for Best Short Film. Because neither the director or the producer was present, guess who went up to claim it. Once again I was up on stage making witty comments, and once again I was approached by numerous people interested in film music in the hour following the ceremony. On what planet this occurred, I'll never know.

That evening I gave away every single one of my business cards. I talked to a ridiculous number of friendly, warm individuals who showed such interest in what I do and were so delightful to converse with. I felt and feel so lucky and honored to have shared my work with that community and left on a high that I am still feeling. For all you composers reading, never underestimate how important leaving your studio and showing your face is to the creative process.

Three Short Fillms in Playhouse West Film Festival

This Sunday, June 12, three short films I've scored will be showing at the Playhouse West Film Festival in North Hollywood. "The Visitation", "Simone", and "Two Bulls" will be playing in two different short film segments. I will be attending and participating in the Q&A after each segment. Should be a fun afternoon!

A Long Needed Update

Thank you, loyal readers for holding out in this now over two month span of silence from me. The good news is that said silence is a result of working and creating nonstop - something I can't be sorry about! I've been racking my brain for the last week or two to decide the best way to chronicle the last two months and have decided that one narrative, sweeping blog entry would be the best way to go. So here goes.

Tom Newman on the right with
orchestrator Jack Redord on the
left and director Tate Taylor
in the middle. At Fox Studios.

Shortly after my last blog entry from March I once again had the tremendous privilege of joining Thomas Newman's team on the scoring stage for "The Help", a movie based on the best selling novel that is set to be released in August. This session was particularly memorable as I was able to (finally) experience the initial phases of Tom's process, which involves him collaborating one-on-one with musician friends he's known for years. After the second day of string recording, Tom stayed late at Fox with George Deoring, a very famous guitar player here in Los Angeles, to lay down some tracks on a cue they would be recording strings for the next day. Tom handed George a rough printout of what was happening in the cue. George made some notes, wrote in some chords, and just started playing stuff - acoustic guitar, electric bass, dulcimer, etc - all while being guided by Tom. After about an hour, the cue was filled out and Tom moved onto the same process with his wind player friend. It literally blew the walls of my mind to see not only how well such a collaborative process worked, but also how amazing it sounded. My lesson from Tom this time around was learning just how valuable the input of musicians is and how much can be created and accomplished by allowing them to do what they do.

April proceeded to be a fairly hectic month with various side jobs and projects swirling about. I met a new challenge on a student project called "Intersection," a film about the relationship between a boy and his father. The father we find out is working nights as a drag queen while the son is out hanging around a bad crowd and at the end we see the two worlds unexpectedly intersect. My job was to write a song that would be the drag queen's musical number, which was played over a beautiful montage of the two character's secret lives. You can listen to the song here:

 Another Day by Dave Volpe


At the end of April I traveled to New York City where I supported my dear friend Taylor who gave his masters recital in bass performance at Juilliard. I wrote him a piece for bass and harp, which was played beautifully along with various other pieces that one would never think playable on the bass. Unfortunately I don't have a link to share, but plans are being made for a recording over the summer, so stay tuned.

Upon my return from NYC I immediately dove into perhaps the biggest job I've yet to undertake. I have been hired for orchestration and score prep on a project for Nintendo - gasp!! I am not yet able to divulge all the details of the project here, but I can say that it is for a live venue coming up in the fall. I shall leave you in suspense for now! We had our first deadline for Nintendo in May and since then I've been steadily working on scores as the music comes in.

In May I also finished work on a tremendous short film called "Simone" staring Ingrid Clay and Jim Parrack (who plays Hoyt on True Blood!). The film was directed by Wolfgang Bodison, who I have had the pleasure of working with twice now. I wrote this score with the influence of Tom Newman glowing in my mind. The score turned into a personal landmark for me as I used Tom's collaborative approach to get some incredible guitar tracks from my dear friend Sam Jones. You can listen to the fruit of my collaboration here:

 Decisions by Dave Volpe

Shortly after finishing the short film I was contact by two (two!) different directors who asked me to work on their feature films - that's right - I have my first two features! I will save the details for later blog posts, but the first is slated to be finished in August and the second will come together shortly thereafter. Stay tuned for much more detail on this front as news unfolds.

And that pretty much brings us up to date. I have many exciting things coming up in June, so please keep checking back as I pull my blog back on track and give you all the breaking news.

News | New Festival for The Visitation

Just received word that The Visitation has been accepted to the Park City Film Music Festival. The seven-day event takes place in the very same location as Sundance in the first week of May. I am really happy that this picture continues to make its way around to festivals, not just for me, but for everyone involved in the production. All of us believe in the quality of this film and want to see it succeed. As of right now I am unsure of my plans to attend the festival, but I will certainly keep you posted.

Once again here is the full soundtrack of The Visitation, coming to you from soundcloud:

  The Visitation by Dave Volpe

Recording in Arizona

  To True Love's Eyes by Dave Volpe


Today I recorded my commissioned choral work at a studio in Arizona. It was an evening of lessons, revelations, and serious music-making. Upon starting the session I began to realize that my seemingly straightforward choral piece was in fact rather difficult. On paper it looks totally reasonable, but when it comes time to actually assemble the harmonies and transitions, it is another beast entirely. Luckily the choir was in the hands of my dear friend Rob, who was able to mold their performance into something truly amazing.

The lesson I (re) learned today is that recording a choir, particularly in a studio space, is really tricky. There is no wiggle room for tuning and nuance - every detail is exposed. It can be frustrating, but when you have a group as good as this, it's very doable.

My revelation came at around 11pm when we were well into the editing/mixing process. Rob was at the computer molding all of the audio, while my travel companion and always supportive friend Sherri Chung was standing by with all of the notes she had taken on all the different takes and bits of music we had recorded. I began to swell with love and appreciation when I realized how unbelievably lucky I am to be surrounded by people like Rob and like Sherri who, without hesitation, rally to help me make this happen. This is precisely how teams are formed. I can't wait until we are sitting together at the Sony recording stage with a huge budget being paid to score a big feature film.

This day was definitely one for the record books. Sherri and I left at 7am, got to Arizona at 2, recorded from 730-930, mixed till 2am, then got on the road and got back to Los Angeles at 930 so I could take care of other pressing work. Four days later I'm still recovering. Worth it? Absolutely.

Rob in hour two of editing