The first feature film I composed, Goodbye Gemini (aka Twinsanity) was unbelievably hard and stressful. The producer, Joseph Shaftel, would call me night or day to insist that “this will be the greatest godamn score ever” and that didn’t help my self confidence at all. Several times I felt like giving up and running away to the seaside where nobody could find me. In particular there was a ritual murder sequence, and for days on end I couldn’t get past the midway point. I grew increasingly desperate and consulted some friends as to how they thought the music should develop. In the end, John Scott, one of my very best friends and an extremely gifted composer, helped me finish the section by FORCING me to write instead of dither interminably. Touch wood, I haven’t had any major composing blocks recently, but the memory of that film still lingers…