Find the best quotes by Jim Coleman.
When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven’t really seen any electronic music performed…
I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have…
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…
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…
I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble…
Yes, I was forced to take piano lessons for 8 years as a child.
Unfortunately, however, I have too many desires to make a good Buddhist.
Then I took 8 years of French Horn, first jazz, and then classical.
So, through playing with Cop I realized that there is a potentially interested audience out in the world.
In scoring, I usually start with a sound or group of sounds, searching out what feels right.
I’m just like you, only I’m different because I’m me.
If the finest hour is now, then I’ll always be in it.
I’m from all over the Northeast.
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
I grew up outside of DC, New York state, and Connecticut.
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.
And I think that I’d be a natural for scoring horror movies.
And when that’s working, the sum can be greater than the parts.
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