The score is
the second
script

Ten years of cues for features, documentary and long-form television. The work starts at the edit, not the spotting session — we take a rough assembly, find the tempo already buried in the cutting, and build outward from it.

Small forces, mostly. A quartet recorded close enough that you can hear the bow leave the string. Tape, prepared piano, room. Nothing is sweetened after the fact; if a cue needs to sound like a room, we go and find the room.