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GRAY - TV SERIES feat. PATRICIA CLARKSON - LIONSGATE/AGC
Gray
GRAY - MAIN THEME + EPISODE CUE
3:12
The first part of this cue is the Main Titles for the Lionsgate/AGC spy thriller "Gray". It's a combination of piano, orchestral percussion, hardware synthesizers, and live solo viola. The second half is a cue taken from Episode 5, which starts with a kind of "fever dream" as the main character is sick in a hospital bed. It follows up with a cat and mouse sequence through the hospital as a killer breaks in to try to assassinate Gray. This cue uses wavering soprano choir, hardware synthesizers, live cello, and live viola.
GRAY - FEEL MY MUSCLE
0:56
This cue is used in a scene where Gray is manipulating a CIA agent she believes is acting against her. It's her main way of working, playing mind games, and it's the first time in the series this tactic is employed. We tried to dial in a little uneasiness here, while keeping the tension high. It consists mainly of synthesizers.
GRAY - Waiting for my Husband
1:04
This cue is a re-worked version of "Gray's Theme" which is heard in the main titles cue above. It's a Jazz Trio/Lounge version that was used at the end of Episode 2 and arcs from a conversation in a hotel bar (used diegetically in the scene) into the end credits (where it transforms into non-diegetic score). The selection above is take from the End Credits part of Episode 2. It consists of Piano, Drums, and Trumpet.
GRAY - Gray's Spiderweb
0:58
This cue is another example of Gray using her manipulation and psychological warfare to get things to fall where she needs them. It's in a similar tone to the "Feel my Muscle" cue, but she is working with a friendly agent, so its tone is shifted to be a bit less sinister. This cue is mainly comprised of synthesizers. This recurs throughout the series.
GRAY - Gray Arrested
0:51
This cue is in the first episode, and is when Gray is brought in from the cold by CIA agents. The first half is her being loaded into and transported in government vehicles, where the second half pivots to Sara, the other main character, who is a source of good through the series. It's the first time we see her on screen, and she is walking through checkpoints at the CIA on her way to work, so we tried to pivot to a lighter tone that felt a bit more procedural, to avoid leading the audience. I think we executed the shift well here. This cue is mainly piano, orchestral percussion, and synthesizers.
GRAY - SERIES FINALE (Post Prod Footage)
GRAY - POOL MONTAGE (Post Prod Footage)
RELAX, I'M FROM THE FUTURE feat. RHYS DARBY - FEATURE FILM - UNIVERSAL
RELAX I'M FROM THE FUTURE is the feature debut of writer-director Luke Higginson, produced by Wango Films and distributed by Universal Studios. This film is an absurdist existential time travel comedy starring the ever-zany Rhys Darby. The greatest scoring challenge was coming up with a set of instruments that captured Darby's performance as fish-out-of-water time traveler Casper, as his energy is a dominant force throughout the film. We used Latin percussion for most of his cues as we felt it captured the lighthearted aspects of his character well, while making it easy to compliment his comedic timing. As the score progressed, we ended up bringing in horn trios, Rhodes pianos, VOX organs, and several synthesizers.
Notable Cues:
Intro to Casper & Library Montage (Latin Percussion, Horn Trio, Rhodes Piano, Organ): 1:30 --> 4:19
Meet Doris & Time Travel Montage (Distorted Synthesizers, Electric Guitar, Electronic Percussion): 23:50 --> 27:19
Percy the Nihilist (Rhodes Piano, Synthesizers, Upright Bass, Latin Percussion): 42:00 --> 43:57
LAST OF THE RIGHT WHALES - Highlights Reel
LAST OF THE RIGHT WHALES is an award-winning documentary by Nadine Pequeneza, released by PBS (Nova), CBC (The Nature of Things), and in Europe by ARTE. It follows disparate groups of people - scientists, crab fishermen, a nature photographer, and volunteer conservationists - as they attempt to rescue the dwindling populations of endangered North Atlantic right whales. The score was nominated for a Canadian Screen Award (Best Original Music, Documentary) and features an orchestral palette that mirrors marine ecology. Adult whales are musically depicted with cellos and violas, calves are violins, playful seals are woodwinds and tambourines. A distressed whale entangled in rope is scored with industrial synths and electronically distorted cello rasps. The film is both a stunning visual tribute to nature and an urgent call to action, accompanied with resources to engage the public in conservation efforts.
GENERAL REEL
THE STOLEN LIVES OF ELEPHANTS - Pocha's Death
1:59
A MOMENT ABRIDGED - Suspended Time
1:26
CYBERPUNK - End Credits
1:17
THE IMPORTANCE OF BEING EARNEST - To The House in the Country
1:15
AUGUST OSAGE COUNTY - Cicada City
0:46
THE DARKEST DARK - The Moon and Stars
1:38
A WRINKLE IN TIME - The First Tesser
1:01
CYBERPUNK - Main Titles
1:06
CHEKHOV'S A WORK OF ART - The Doctor's Theme
0:33
GRAY - FEEL MY MUSCLE
0:56
HE MURDERED SLEEP - Wired Sisters
0:30
RELAX IM FROM THE FUTURE - Stasis or Static
1:41
Bryan Bindon - Biography
Bryan Bindon is a film composer with a background in recording engineering, Mastering, and jazz trumpet performance. Bryan’s passion for synthesizers has led him to work on projects that feature synths not only as a textural element, but as a driving tool for character and world-building. Bryan is equally comfortable working with orchestras and large ensembles, to create symphonic scores with emotional depth. He has several projects and accolades in his rapidly evolving career. They include the Lionsgate/AGC TV series Gray (starring Patricia Clarkson), the feature film for Universal Pictures entitled Relax, I’m From The Future (starring Rhys Darby), as well as Apocalypse Plan B (narrated by Jane Fonda). His film work can be seen on Apple TV, Paramount +, Netflix UK, CBC, and Shortverse.
In a past life, he was also a mechanical engineer with a Master’s degree in Motorsport Engineering, working in engine design and custom titanium bicycles. His favourite film is Blade Runner.
Bryan is a member of the Screen Composers Guild of Canada, The Canadian Academy of Film and Television, and the Society of Composers and Lyricists.
Deanna Choi - Biography
Deanna is a film composer and theatrical sound designer. A classically-trained violinist, Deanna infuses her work with lush string sections and playful aleatoric extended techniques. Her background in neuroscience informs her storytelling approach to delve into the behaviour of characters. Deanna’s sound designs can be seen across North America - she has designed for productions at the Stratford Festival, Shaw Festival, Ballet West, Canadian Stage, Soulpepper, and others, as well as designing immersive sound installations for commercial projects including Van Gogh Immersive New York. She scored LAST OF THE RIGHT WHALES, a nature documentary that the National Post called, “a vital and important call to action […] backed by lovely ocean photography and a stirring soundtrack”, and was nominated for a Canadian Screen Award for Best Original Music for Documentary Television. She is an associate artist and instructor with the National Theatre School of Canada. Deanna has won 2 Dora Awards, a SOCAN Award, the Pauline McGibbon Award, and has been nominated for the Louis Applebaum Award, a CASMA Award, and 4 Robert Merritt Awards. Her favourite films include Atonement, Pan’s Labyrinth, Parasite, and Muppet Treasure Island.
Deanna is a member of the Screen Composers Guild of Canada, IATSE ADC 659, the Society of Composers and Lyricists, the Alliance for Women Film Composers, and the Canadian Federation of Musicians.
CONTACT
Bryan Bindon Deanna H Choi
bryan@hivemindcomposers.com deanna@hivemindcomposers.com
Representation