DOUGLAS ROMAYNE: Expressing the Inexpressible “...Entity: Nine falls more into the sci-fi/horror genre and also features some great action cues...The action cues feature a Goldsmithian rhythmic play with a sound that closely resembles similar scores by Richard Band or Guy Gross' Farscape. ...” —Steven A. Kennedy, Film Score Monthly Online, 6.19.07 Available At iTunes Movie Music Online CD BABY

SCORE COMMENTS

Entity Nine is an impressive, ambitious short film and it inspired me to create a score that would make the film sound as professional and exciting as it looks. Easier said than done when the entire film’s budget is less than a half-day of recording a professional orchestra. Fortunately, computer technology and unions have evolved to the point where it is possible to at least approach the sound of a big sci-fi thriller. Through judicious use of samples and the playing of some of LA’s best session players, the score ended up being very close to the sound I heard in my head before we began. Another invaluable aspect of the process was the mixing job performed by Casey Stone. I met Casey several years ago when I worked for Chris Beck and he has always impressed with his talent and easy-going attitude. You can learn more about Casey’s work on feature films at his site www.caseystone.com

As Brad says of his film, E9 is an “action-packed, pulse-pounding ride,” so the score had to reflect that. It’s always fun for me to have the chance now and again to jump in with both feet, so to speak, and write something that raises pulse rates.

Brad wanted the music to acknowledge more than fights and chases, however. What drove the story from its conception is the question, what is it that makes us human? I found this fascinating and a more interesting musical challenge than writing only high-octane music. The relationship the protagonist has with his wife is an integral part of his character, so a love theme was written, heard most completely in Coffee For Two and Escape To Fiji. Because the score functions from a psychological point of view for most of the film, there is less of an emphasis on electronic elements in the music than one might imagine for a film about robots.