A few years ago, I auditioned to score a film about sumo wrestlers who join a college football team with a lobster as their mascot. I composed a marching band ‘fight song’ for The Lobsters (listen for the sound of their claws clicking), as well as a taiko drumming theme for the sumo wrestlers. The track I submitted features: The Lobsters’ Fight Song, The Sumo Wrestlers’ Theme, The Sumo Wrestlers’ Theme with added drumline (signifying the conflict between the sumo wrestlers and the football players), and The Lobsters’ Fight Song with The Sumo Wrestlers’ Theme played simultaneously (signifying that they learned to work together).
P.S. I didn’t get the gig.
Ten years ago, Emil Acevedo (Virgeo Studios) released the stop-motion animated short film, Apocalypse LEGO Episode 1: Frozen Terror using LEGO minifigures. Since then, it has had over a million views and over 4 thousand likes. In the years following, he released FT2: LEGO Submergence, FT3: LEGO Club Che Boom Boom, FT4: LEGO Block War, and most recently FT5: One Shot, Two Kills.
I met Emil at last year’s Denver Comic Con (now called Denver Pop Culture Con) when I was working for Nerds That Geek, and covered his panel on stop-motion animation. When I introduced myself and told him that I’d be writing an article about his panel (read it here), he offered to do an interview as well (watch it here). Somewhere along the line, Emil asked if I would be interested in composing music for his most recent work in progress, Frozen Terror 6. I jumped at the chance and began working with some ideas that he had come up with for guitar.
After sending him some of the samples I had put together for FT6, Emil told me about his plan to digitally remaster FT1 and release the updated version for the 10 year anniversary of the original. But there was an issue. In the original, he had used a clip of music from a popular video game, which meant that he was very limited in where he could show it (e.g., not in film festivals). He asked me to re-score it with my own music so that there wouldn’t be copyright issues. I took the core of the ideas that he had come up with for FT6, tried to match the overall mood of the original music, and shaped it around the preexisting sounds (explosion, alarm, etc.). He also asked me to score the rest of the film, which meant that I was able to be a little more creative because in the original, there is only music in the first few minutes (up to when the alarm goes off). The end result is: Frozen Terror 1: Apocalypse LEGO 10 Year Anniversary Remastered!
P.S. I didn’t write the elevator music.
During the most recent 48 Hour Film Festival, some of the music I composed didn’t get used, but I decided to post it here anyway. Some things to listen for: (1) At one point in the scene there is a reference to a mobile game that was very popular at the time. (2) Around the climax of the scene, a slow-motion “bullet-time” effect was used.
A lot has happened since the last time I posted in November.
I uploaded some new music (look to the right) from the end of last year (Always Approaching, Never Reaching and A Winter Carol).
I set up links to new videos (look to the left) that I did music for (Spirit Animal, Date, and I Can Diglett).
I updated my bio.
Also, on Tuesday April 26th at 7:30, the Lamont Symphony Orchestra will be performing Astronauts vs. Aliens at their New Music Concert. I hope to see you there!
Please look under “VIDEOS” for a link to my latest composition, a score for a minute-and-a-half scene from the silent film He Who Gets Slapped.
Desolation began as a score for an animated horror film, but the project fell through. I decided to put it together without the visuals and add some of my own twists to the plot.
Our hero awakens suddenly. He does not remember where he is or how he got there, but he is surrounded by desolation. He gathers himself and tries to look for signs of hope. Just when he is about to give up, the military arrives. Just as they get our hero to safety, the source of the destruction makes itself known: a group of terrifying monsters. A fierce battle ensues, and just as the monsters are about to defeat the military, our hero’s unknown, inner power manifests itself in a glorious, blinding flash that disintegrates all of the monsters. Although, since this power is new to our hero and he has no control over it, he has also disintegrated the surviving members of the military, who were his would-be rescuers. He may be able to find a vehicle that still works, or at least a radio to call for help… but what does his future hold now that he has this strange new ability?
I’m Tim Girard, a Colorado composer, interested in writing music for film, television, and video games, as well as instrumental and choral music for the concert stage.
I have a Master of Music degree in composition from the University of Denver, Lamont School of Music.