DOUGLAS ROMAYNE: Expressing the Inexpressible “...This album...is a fabulous demonstration of Romayne's ability to create melodic, large-sounding scores in many genres...This release is highly recommended for those interested in hearing a voice that we can only hope will move on to more high profile assignments...” —Steven A. Kennedy, Film Score Monthly Online, 6.19.07 Available At iTunes Movie Music Online CD BABY

My involvement with Antebody began long before the film was shot. Jim Gleason and I met in a class at USC’s film school when the story was just a glint in the director’s eye. While the film was still in the storyboard phase, we had discussions pertaining to where music could take over the storytelling. Jim was very aware of how significant a role music can play in a film and wanted to make sure he had shots in Antebody that would allow the score to speak. I, of course, welcome any opportunity to write a cue that isn’t covered by dialogue or sound effects and not just for egotistical reasons, either. Having some time to establish a theme or a sound, particularly near the beginning of a film, is extremely valuable in putting a sonic and emotional ID on the movie.

For example, Antebody begins with the discovery of a dead body floating down the Los Angeles River, which we follow for some time via an extended crane shot. We don’t yet know who it is or how it got there but it certainly isn’t a comforting scene. By laying a sustained, drawn-out melody that includes a few dissonant notes (notes that don’t fit the chord or the scale) over a steady pulse, an uneasy mood is created that tells us we are inexorably moving toward something a little bit creepy and unexplainable. At least that was the goal. Hear the results in "Marty Floats" above.