“What a career he has in front of him.”

Gayle Levant, Harpist, HONZA

“Jerry [Goldsmith] would be proud.”

Rick Baptist & Jim Thatcher, Principal Trumpet and Horn, MAROONED

“What makes Douglas stand out is that he’s an excellent storyteller. He truly immersed himself in the material, scoring not what we see but what we feel. The result was an incredible score that adds tremendous production value to the film. It’s a bonus that he happens to be a nice guy and a great collaborator.”

Brad Kean, Director, ENTITY: NINE

“Douglas' understanding of story, character and visuals were as beneficial to the film as were his musical instincts. His light and elegant touch allowed the music to become such an organic part of the narrative, it's hard to imagine the film without it.”

Luke Hutton, Director, SHELTER

“Both captivating and powerful, Douglas’ score is truly a masterpiece. He is able to capture the emotion of a scene, a character, a story, seemingly without effort. What sets Douglas apart from others is not only his natural talent, but his love for music and ability to capture a moment, and make it timeless...he can do with a score what few others can; make the pictures jump off the screen and into your heart. Douglas is a great professional and a joy to work with.”

JC Schroder, Director, FREEDOMLAND

“Douglas is committed to the art of storytelling, and he captured the tone of ROCKETBOY with music that is haunting, lush and magical. I came to him with a unique style in mind, and he was able to achieve it perfectly.”

Justin Guerrieri, Director, ROCKETBOY

“The writing, directing, cinematography and acting made up the body of the film. Doug's score gave it its soul.”

Adrian Fulle, Director, THREE DAYS

“Douglas perfectly captured the modern Western sound I was looking for. The music is both subtle and bold adding interesting layers to the tone of my film. I especially love the triumphant final cue - it helps my movie come to a close with great spirit and style.”

Alexandra Apostolakis, Director, SHE WORE A YELLOW SCRUNCHY

“Douglas composed a temp score for a tricky sequence in an early cut that was so fantastic, it became Antebody's theme...
I would recommend him for any filmmaker who wants an
amazing top-notch score”

James P. Gleason, Director, ANTEBODY

“Douglas was recommended to Chad Rocco, Matthew Hsu and myself by a number of our friends who collaborated with him. His music added tremendously to both the tension and comedy of our film. He was also very open to feedback and working within our director's vision of the project. We'd gladly work with him on future projects... he's a real pro.”

Eric Conner, Producer, THE DOZEN

“On The Jackalope, Doug worked tirelessly to ensure that I got the best score possible...I look forward to working with him again.”

Joseph Guerrieri, Director, THE JACKALOPE

“Douglas approached the cinematic process in my film
with incredible insight, commitment and talent”

Adriana Zuanic, Director, NON PLUS ULTRA

“Douglas is an exceptionally gifted composer who has the special ability to recognize the nuances of story and character and create sublimely beautiful music to highlight these elements. Collaborating with Douglas on my film is a director’s dream, not only is he extraordinarily talented and passionate about his work, he's a consummate professional. I look forward to working with him again soon.”

Luci Kwak, Director, BEYOND THE SILENCE

“Working with Doug on both films
was a wonderfully collaborative experience. His ability to come up with a broad range of strong thematic music and achieve a large orchestral sound within his own studio served in bringing both stories to life on the screen.”

Eric Towner, Director, PAPER CUT, SUNDAY PAPER p.2B

“It is a special treat for a filmmaker to work with Douglas as he truly understands how to shape and enhance the emotional world of a story. His music allows the audience to seemlessly enter the hearts and minds of the characters onscreen.”

Lindsey Shockley, Director THE TRUTH ABOUT FACES

“...Freedomland kicks off the disc...Beautiful is an aptly-titled track, featuring a strong lyrical melody played first on solo wind and later on cello against a small string ensemble...Rocketboy, has a magical, Elfmanian quality. Again, thematic ideas make the music immediately engaging. Much of this particular score is best described as a cross between Pee-Wee's Big Adventure and Edward Scissorhands...Entity: Nine falls more into the sci-fi/horror genre and also features some great action cues…a Goldsmithian rhythmic play with a sound that closely resembles similar scores by Richard Band or Guy Gross' Farscape. The score for Shelter is similar in style to Freedomland, but this time with more emphasis on ambient sound textures and a semi-James Newton Howard feel. Sunday Paper p. 2b...offers another beautifully thematic piece of Americana, with gorgeous flute and oboe solos taking the lead in Photographic Memories. Beyond the Silence is…a piano and string-based score featuring a simple melodic idea set against a rich harmonic palette...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
album review Expressing the Inexpressible

“...Entity: Nine and Shelter, both short films, slick in their own genres, one a sci-fi modelled on The Sixth Day and the other a Magnoliaesque interlinking of storylines between desperate or sad people. Doug's scoring for both was not only apposite but, in my opinion, probably of better value than either film would normally have expected. Entity: Nine in particular pulls out the stops to deliver excitement in the quasi-orchestral fashion DR exhibited so well in the Buffyverse. He brings in Buffy regular and all-round woodwind whizkid Chris Bleth (on flute and clarinet) and supplements with four violinists and a cello. The result is economical but thrilling (think A.I. in places?), and there are sci-fi/action feature scores that do a lot less. Shelter, then, is a complete contrast, reducing the scoring down to little more than string synths, atmospherics (rain fx, synth-sound, some very soft marimba percussion?) and delicate piano. In its own way this is the more effective score because it lets the drama play out with the barest emotional wallpapering.”

Ian Davis, BluntInstrument: Buffy Composer Site
ENTITY: NINE and SHELTER score reviews

“ Romayne's rich scores satisfyingly complement the films he's worked on. The title of this CD is "Expressing the Inexpressible," and that's exactly what Romayne has done. I have seen a handful of the films represented here, and I was reminded again that music goes beyond what pictures and words can do on their own. Romayne has filled in and completed the stories, complementing the action and providing an emotional context. Its hard to imagine the films working as well as they do without his music. Regarding the films I haven't seen, the evocative music conjured images and emotions that made for a satisfying stand-alone experience, but it also made me want to seek out those films...”

Jeff Jewell, Director/Editor
album review, Expressing the Inexpressible

“...an added touch of class is lent to the
production by the top-notch musical score from Douglas Romayne...”

Russell Williams, Dark Realms Magazine
Issue 17, H. H. HOLMES review

“ A new collection of cues from Douglas Romayne's recent project Entity:Nine...are truly impressive in their scope and melody, which, despite a budget dictating the usual reliance on samples and synths, has managed to squeeze in live performances...The result simply reminds us how much a little live playing can add to the scope of a synth score - the cues are full of vitality...I couldn't think of a better stimulus to watching [the film].”

Ian Davis, BluntInstrument:Buffy Composer Site
ENTITY: NINE score review

“...The music score by Douglas Romayne is outstanding. Romayne captures a large sounding score that backs the documentary's historical perspective as well as the seriousness of the subject matter...”

Terry Wickham, Manta Ray Pictures
H. H. HOLMES review

“A skillful indie documentary, full of atmosphere and class...there's a swell orchestral, Bernard Hermann-esq score (by Douglas Romayne)...”

Martin Wagner, IMDb
H. H. HOLMES

“...a hauntingly evocative score
by Douglas Romayne...”

Mike Bracken, Epinions
H. H. HOLMES review

“...the music by Douglas Romayne
is marvelous...”

Bill Gibron, DVDTalk
H. H. HOLMES review

“...The music [by Douglas Romayne]...adds up to one seriously slick little flick, one that will curl your toes while feeding you a nasty dose of Americana's turn-of-the-century underbelly...”

Scott Weinberg, eFilmCritic
H. H. HOLMES review

“...adding even more to this already bizarre tale is the musical score by Douglas Romayne...”

Reviews From The Krypt, H. H. HOLMES review

“...with the premiere to Buffy the Vampire Slayer  season 7, Douglas Romayne's style showed a return to form for the show in terms of action/horror music, matching the styles of both Chris Beck and Angel's Robert Kral without danger of plagiarism...”

Ian Davis, BluntInstrument: Buffy Composer Site
BUFFY THE VAMPIRE SLAYER 7.01 "Lessons" review

“Douglas Romayne's "Directing The Composer" workshop is an important and information packed seminar. It can only enlighten the filmmakers who attend. Douglas' workshop is the missing link from most college curriculums. I recommend it to all filmmakers.”

John Putch, Director, MOHAVE PHONE BOOTH

“Sitting in Douglas Romayne's "Directing The Composer" workshop made me wonder why we didn't have a class like this in film school. I went through film schools in both England and California, but I learned more about working with a composer in this one workshop than I did in school. I was impressed with how Douglas was able to simplify the process, the many different purposes of a film score, and define a common language that directors and composers can use to communicate with each other.”

Jon Gustafsson, Director, WRATH OF GODS

“Douglas Romayne's "Directing The Composer" workshop is as insightful into the mind of a composer as it is beneficial and necessary to every film director who has ever worked with a composer. Douglas was able to touch on material about the Director-Composer relationship that you just can't hear elsewhere, speaking from years of experience in both film and television and on projects of all sizes, from block-buster movies to low-budget short films, television and animation. It was not only a unique and greatly enlightening workshop, but also an entertaining look into the scoring process and the importance of music. Douglas' workshop was truly a great addition to the Festival.”

J.C. Schroder, OIFF Festival Coordinator and Director, FREEDOMLAND