You’ve always had a strong connection to music, yet acting was your first professional career. Despite your initial success in acting, how did you find this transition from acting to film composition? Was it a natural progression, or was there a specific event or inspiration that prompted it?

It was a slow transition that happened gradually. Music had always been important to me and during my acting career I was always writing music in the background. A couple of opportunities to write to picture presented themselves and once I experienced that it was like something clicked.

The events from Young Woman and the Sea transpired practically 100 years ago, yet the score features grand orchestral elements blended with eclectic contemporary electronic touches. Is there a reason you deliberately crafted a contemporary sound for a period piece set in the 1920s?

What Trudy achieved was so extraordinary. Her boldness, strength and bravery was so unusual and at a time when women were expected to play small. I didn’t want to feel constrained by the period.. as clearly Trudy wasn’t!  I wanted to make the races and swimming feel as exciting, visceral and epic as possible and I found that using more contemporary elements supported this. Particularly percussion and electric cello which really propelled the film forward and created an ever present pulse and electricity to the story.

Beyond technical skills and experience, what personal qualities do you believe are essential for success as a composer in the entertainment industry?

I think it is really important to be a good listener. To be able to read between the lines and fill in the blanks when somebody is trying to express creative ideas. To be open and not cling to preferences or ideas that are not serving the film. I think learning to let go of preconceived ideas of what might work and being open to where the job takes you is important. You sort of have to get out of your own way.. and be ok with throwing things away.

Technology is constantly evolving in your field of work, now more than ever before. What are some of the tools or software you find indispensable in your creative process, and how have they impacted your workflow?

Technology is not my strong point and yet I am incredibly grateful to it and dependent on it. I did not train classically and so the software I use has allowed me to write for the orchestra in a way I could never do on a manuscript. I use Logic and it’s something I have taught myself to use over time. I am still learning and discovering more ways to help workflow and support my creativity all the time. For me, predominantly though, I use logic as a way of getting my ideas down rather than delving deeply into programming and production.. It is more of a sketchbook.

Outside of your work in film, you have released three solo classical albums to date. How do these two creative outlets differ for you, and in which ways do they inform or influence each other?

I have really loved being able to write away from the constraints and restrictions of film. I love the constraints and restrictions as well but it is nice to be able to explore a melody or an idea without it needing to work in the context of something else. That it can exist as it is. It’s a nice counterpoint with writing to picture.

Looking back on your unique  journey, is there a particular piece of advice, perhaps from a mentor, colleague, or friend, that significantly shifted your perspective or influenced your creative path, or perhaps even your personal life as well?

I suppose it would be you can do things your own way. It might not look the same as other people’s way but it doesn’t mean it has less value. We all have unique perspectives and that is a strength as a composer. Also don’t be afraid to ask for help. Reach out to other composers and collaborators if you are stuck or unsure. I have found people to be so generous and supportive.

Interview by Michael Van Bodegom-Smith

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