In addition to writing music, composers wear so many hats—like orchestrating, navigating tech, mixing, and recording. What’s the skill you’ve had to work the hardest at—and the one that’s come most naturally?

I’ve probably worked the hardest at learning the tech. It interests me the least, and I’ve found it the most daunting. It was also the first thing I hired out when I could! Orchestration has come the most naturally to me, though I’ve had to work hard at that too. I continue studying it because it makes composing really fun, and I believe it also makes me a stronger writer.

What has it been like being on the Television Academy’s Music Branch Governors Board, and how has that experience influenced your perspective on the industry?

Being a Governor of the Music Branch of the Television Academy has been a fulfilling experience. It’s a fair amount of work and requires a not-insignificant amount of time, which can be a challenge. But I believe in the work the TV Academy is doing—from strengthening our community within the television industry to upholding the integrity of the Emmy® Award. It’s one of those roles that’s a slow burn, with heavy behind-the-scenes work, but there’s a lot of vital and fundamental movement taking place. I also believe giving something back to our community and being an active member of our industry is valuable.

You’ve collaborated with some wonderful composers. Is there a mentor or figure who’s most influenced your approach to storytelling through music?

Blake Neely has been a longtime mentor, collaborator, and friend. I first met Blake as his student when I was in USC’s SMPTV graduate program. I really connected with his style of teaching—but even more so, the way he read and scored scenes. I became a huge fan of his musical style overall and his approach to storytelling. I’ve learned a great deal from him over the years about thematic writing, orchestration, and even the “business” of being a film composer.

What’s the most unusual or unexpected feedback you’ve ever gotten on your work, and how did it affect your composing moving forward?

Actually, I once described another composer’s work—which I greatly admire—as being very not subtle. Admiring that approach made me think about what writing with less subtlety might mean. I’ve become far more conscious about writing more boldly and taking fearless chances in my own composing. There are times to be restrained and nuanced, but I also really look for opportunities to be undeniably present in my writing.

When you’re stuck creatively, how do you reset—is it music, a place, a person, or something else entirely?

I find movement to be a great tool to creatively knock things loose. Even just walking down the hall to grab water or a snack can spark an idea. I do a lot of conceptualizing away from the screen when I’m not working. I’ll hum or sing into my phone’s voice memos a lot when I’m driving, and then explore the idea when I’m back at the piano or my desk. There’s also a lot to be said for procrastinating so long that you have to start trusting your instincts—relying on craft rather than creativity.

What’s one piece of advice about balancing your many roles—composer, vocalist, performer—that you wish you’d gotten earlier in your career?

Our careers don’t need to be focused on just one outlet. When I first started, I was told to choose between going fully into singer/songwriting or film scoring—that describing yourself using a list of professions was somehow confusing or diluting. I think that steered me into choosing one avenue and inadvertently neglecting other musical interests. I would encourage exploring every path of your creative outlet and seeing where it takes you.

What drew you to get involved with the Alliance for Women Film Composers, and how has being part of that community shaped your own journey as a composer?

When I decided I wanted to be a film composer, I was fairly young. There were very few avenues to learn the profession, let alone break into it. I see the AWFC as a great resource and tool for women composers. It’s a community that’s supportive, educational, and integrated into the industry in a way that I think could have made a huge difference for me when I was starting out.

Interview by Jocelyn Scofield.

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