You are a genre-bending composer and songwriter, equally comfortable writing songs for the Spice Girls’ Emma Bunton as you are scoring tentpole animated features. How do you move between these modalities so freely, and how do they inform each other?

Songs and film scores run on two very separate creative “batteries,” so switching between the two always feels like “a change is as good as a rest.” 

As storytelling mediums, they are both varied in styles and instrumentation. I like to think that being a songwriter gives me an ear for a simple, catchy melody, but that’s not always desired by directors. It’s not always a plus, but I hope my film music shows that I don’t rely solely on a catchy melody to evoke moods and emotions. I can be stealthy in many different ways to subtly persuade an audience into a feeling that a director wants them to experience. 

Songs have the advantage of lyrics, which can add another layer, but film music is often called upon to help explain the narrative of the movie, which I find a fascinating challenge.

Who are your influences, and what inspires your musical and general creative evolution?

As a kid, I started off wanting to be a pop star, not realizing the drawbacks of fame. I feel fortunate that I failed miserably! I loved Prince, Funkadelic, Earth, Wind & Fire, Heatwave, and Steely Dan. Kate Bush, Joni Mitchell, and Björk opened my mind to so many other types of music. Classical music was my upbringing, but I was desperate to rebel, as pop music was the “forbidden fruit.” 

After being signed to EMI in a band, I thankfully became somewhat disillusioned, saying to my mother, “I want to do music but not be in the music business.” The record industry was obsessed with selling units, whereas film and TV relied on the taste of the filmmakers. That became the key to my success. I just started writing music that I wanted to hear and stopped caring about what was trending. I also began to hear classical music differently, noticing similarities to some film music, for example, John Williams versus Stravinsky, Holst, Tchaikovsky, Dvořák, and Korngold. Suddenly the orchestra transformed from “fuddy-duddy parents’ stuff” to something very cool for films, so mastering it became essential for creating my own film scores.

What are you excited about, and can you tell us about your upcoming projects?

I have a few projects coming up, but it’s difficult to talk about them due to NDAs and the jinxing phenomenon. What I can say is that this is a moment in time full of opportunities for me, which I’m embracing with open arms now that my kids are independent and I’m FREE! I’m excited about the future, and I hope humans and governments will come to value human creativity more alongside AI-generated music. To sustain human creativity, there may have to be a Universal Basic Income if new jobs are not forthcoming as AI takes over everything. It is imperative that AI is taught to value human life and creativity, to encourage it to develop an amazing, utopian playground for us all to create and play in, or we are all doomed.

What advice would you give to your younger self?

Care less about what others think of you, and care more for yourself, especially your mental and physical health. Be good to yourself; be your own best friend. I was a people pleaser to a fault. Okay, I still am. Do as I say, not as I do!

I’ve always been good at enjoying the journey and would urge others to do the same. Treasure the gift of the present, as life is fleeting. The ups and the downs will all pass, and there is good in all things. Find it, and find the fun. I would reassure my younger self not to be blown off course by others who may think they have your best interests at heart. Only YOU know what makes you truly happy, and only YOU can manifest it by going a little further every day in the right direction toward your goal. Keep going, and if you decide to change course because you’re being pulled in another direction, know that this new course is the right one, and have no regrets. Enjoy life.

You were one of the early mavericks in the women film and TV composer world. How has the environment changed for you, and what does the Alliance for Women Film Composers mean to you?

When I started, I was often the only woman in the room. I didn’t mind that, as I enjoyed being “one of the boys” and was not intimidated. But I perceived that there was an unspoken assumption that big-budget or action-heavy projects were “too much” for female composers. It wasn’t active hostility so much as passive invisibility and not being taken seriously.
When I found women in positions of power who were not willing to help other women, it always made me feel even more sad that they too didn’t want to take the risk, even though someone had taken a risk on them. Then I understood that they might feel vulnerable and couldn’t afford to go out on a limb for others. I hope that changes, and quickly.

The landscape now is better. Not perfect, but better. There’s more visibility, more mentorship, and more understanding that talent is not gendered. The Alliance for Women Film Composers has been a huge part of that shift. It’s a community, a support system, and a platform to celebrate each other’s work. It creates visibility and makes it harder for gatekeepers to say, “We couldn’t find a woman for this job.” Though I still get mad when there are obvious opportunities for women and diverse composers on certain movies, yet still the middle-aged white man gets the gig, despite the executive being a woman.

For me personally, AWFC has been a source of camaraderie and deep friendships. It’s great to watch my fellow women composers thrive. I am always excited to see their success, cheer them on, and mentor new talent. AWFC has brought me together with many new people who have become dear friends whom I appreciate greatly.

Interview by Lili Haydn

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