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Score music
Good Behavior
2016-17
TV show for TNT (US)
2 seasons (2x10)
Showrunner: Chad Hodge
Michelle Dockery
Juan Diego Botto
THE MUSIC:
Showrunner and writer Chad Hodge asked for an upbeat modern electronic score with an original edge. Every cue should always reflect the emotion that Letty Raines (Michelle Dockery) would feel in any given scene.
She is a gifted, charming, attractive and resourceful entrepreneur when it comes to surviving through cheating and deceiving other people, and the music should reflect that in a positive, energetic and dramatic way. One cue - the Hotel cue - ended up defining Letty's personality and we took it on from there.
As the show moves on the music in second season takes a more dark and abstract direction reflecting Letty’s troubled personality and life. A few scenes at the end ends up almost only having psychoacoustic (psychotic) sound effects
Acknowledgements:
July 5, 2016 Head of TNT Drama Sarah Aubrey, Sam Linsky (TNTO) and Becky Clements wrote regarding the third episode of season one:
"Wow. We really loved these. There’s clearly a distinctive sound emerging that feels really original, and quite meaningful. Thomas has done beautiful work here!"
TV show for TNT (US)
2 seasons (2x10)
Showrunner: Chad Hodge
Michelle Dockery
Juan Diego Botto
THE MUSIC:
Showrunner and writer Chad Hodge asked for an upbeat modern electronic score with an original edge. Every cue should always reflect the emotion that Letty Raines (Michelle Dockery) would feel in any given scene.
She is a gifted, charming, attractive and resourceful entrepreneur when it comes to surviving through cheating and deceiving other people, and the music should reflect that in a positive, energetic and dramatic way. One cue - the Hotel cue - ended up defining Letty's personality and we took it on from there.
As the show moves on the music in second season takes a more dark and abstract direction reflecting Letty’s troubled personality and life. A few scenes at the end ends up almost only having psychoacoustic (psychotic) sound effects
Acknowledgements:
July 5, 2016 Head of TNT Drama Sarah Aubrey, Sam Linsky (TNTO) and Becky Clements wrote regarding the third episode of season one:
"Wow. We really loved these. There’s clearly a distinctive sound emerging that feels really original, and quite meaningful. Thomas has done beautiful work here!"
Jo
2014
Crime show for TF1 (FR)
1 seasons (1x8)
Showrunner: Rene Balcer
Jean Reno
Tom Austen
The Music:
Jo is a classic "Law & Order" concept with a solved murder in each episode. Legendary Jean Reno is the personally challenged commissioner who solves the puzzles with Paris as a backdrop and Rene Balcer, inventor of Law & Order, is showrunner and writer. Since I didn't have any experience in making TV series at that time Rene Balcer asked me to do the title sequence of the series. I had luck and succeeded in the first attempt and I was hired.
He wanted a "classic" electronic crime score which underpins the characters' emotions and the various scenes need for drama. I chose to let these elements combine with a beat-oriented universe, which fortunately also turned out to be in line with the wishes of the clients, the French TV station TF1.
Both an English and a French language version of the series were to be made. TF1 wanted more real instruments in the music for their version and I subsequently sat for two months with Alfred Lot in both Paris and Copenhagen and further developed the music to the French version. That is predominantly where the music comes from in the link below.
Crime show for TF1 (FR)
1 seasons (1x8)
Showrunner: Rene Balcer
Jean Reno
Tom Austen
The Music:
Jo is a classic "Law & Order" concept with a solved murder in each episode. Legendary Jean Reno is the personally challenged commissioner who solves the puzzles with Paris as a backdrop and Rene Balcer, inventor of Law & Order, is showrunner and writer. Since I didn't have any experience in making TV series at that time Rene Balcer asked me to do the title sequence of the series. I had luck and succeeded in the first attempt and I was hired.
He wanted a "classic" electronic crime score which underpins the characters' emotions and the various scenes need for drama. I chose to let these elements combine with a beat-oriented universe, which fortunately also turned out to be in line with the wishes of the clients, the French TV station TF1.
Both an English and a French language version of the series were to be made. TF1 wanted more real instruments in the music for their version and I subsequently sat for two months with Alfred Lot in both Paris and Copenhagen and further developed the music to the French version. That is predominantly where the music comes from in the link below.
Over gaden under vandet
2009
Feature film - Nimbus Film
Director: Charlotte Sieling
Sidse Babett Knudsen
Nicolas Bro
The music:
Charlotte Sieling and I had worked together before on her short film Tut & Tone and had a really good process together. We therefore didn't talk much about what the music should be in her feature film debut Over the Street, below the Water. I chose a brooding electronic score, adding acoustic instruments as needed, which emphasized the unhappy situation of the four couples. Towards the end of the process we learned that we had not solved the problem with the film's title sequence and a new opening of the film had to be composed. Charlotte's father had just passed away and had, among other things, been a skilled clarinetist. Before we started on the film, I had borrowed his clarinets and used them elsewhere in the score. Inspired by Christianshavn's canals in the opening sequence, we chose to make a kind of "Christianshavn musette” where I used her father's instruments. It turned into a title sequence over three minutes long, which ended up starting the film.
The music is released on Gateway Music.
Feature film - Nimbus Film
Director: Charlotte Sieling
Sidse Babett Knudsen
Nicolas Bro
The music:
Charlotte Sieling and I had worked together before on her short film Tut & Tone and had a really good process together. We therefore didn't talk much about what the music should be in her feature film debut Over the Street, below the Water. I chose a brooding electronic score, adding acoustic instruments as needed, which emphasized the unhappy situation of the four couples. Towards the end of the process we learned that we had not solved the problem with the film's title sequence and a new opening of the film had to be composed. Charlotte's father had just passed away and had, among other things, been a skilled clarinetist. Before we started on the film, I had borrowed his clarinets and used them elsewhere in the score. Inspired by Christianshavn's canals in the opening sequence, we chose to make a kind of "Christianshavn musette” where I used her father's instruments. It turned into a title sequence over three minutes long, which ended up starting the film.
The music is released on Gateway Music.
Hannibal og Jerry
1996
Feature film - Græsted Film
Director: Wikke & Rasmussen
Paprika Steen
Martin Brygman
Hella Joof
The music:
Hannibal and Jerry is a Danish family film from 1997, produced by Michael Wikke and Steen Rasmussen from the film company Græsted Film & Television. It is a film adaptation of Kim Fupz Aakeson's children's book The Didriksen Detectives from 1988. The film earned Peter Frödin and Hella Joof a Bodil nomination as "Best Supporting Actor" and "Best Supporting Actress" respectively in 1998.
The two directors wanted a jazz score to accompany the many pop songs that were sung in the film that became big hits. Some of Denmark's great jazz musicians play on the score, among others the pianist Carsten Dahl and the trumpeter Kasper Tranberg who play the title melody. It was my first feature film so there was a lot to learn in a short time. The film can today be described as a classic in Danish family films.
Parts of the underscore together with the songs were released on Sony records.
Feature film - Græsted Film
Director: Wikke & Rasmussen
Paprika Steen
Martin Brygman
Hella Joof
The music:
Hannibal and Jerry is a Danish family film from 1997, produced by Michael Wikke and Steen Rasmussen from the film company Græsted Film & Television. It is a film adaptation of Kim Fupz Aakeson's children's book The Didriksen Detectives from 1988. The film earned Peter Frödin and Hella Joof a Bodil nomination as "Best Supporting Actor" and "Best Supporting Actress" respectively in 1998.
The two directors wanted a jazz score to accompany the many pop songs that were sung in the film that became big hits. Some of Denmark's great jazz musicians play on the score, among others the pianist Carsten Dahl and the trumpeter Kasper Tranberg who play the title melody. It was my first feature film so there was a lot to learn in a short time. The film can today be described as a classic in Danish family films.
Parts of the underscore together with the songs were released on Sony records.
Tut og Tone
1995
Novelle Film - Nimbus Film
Director: Charlotte Sieling
Ghita Nørby
Malene Schwartz
Jesper Christensen
The music:
Tut og Tone is a poetic short film about finding love late in life, or maybe it's about moving away from things you know or maybe it's about death. Three of Denmark's greatest actors unfold the story in this little poetic miracle written and directed by Charlotte Sieling. Charlotte and I met and talked about the story. Before a frame had been shot, I composed the music for the balloon ride which was supposed to be at the end of the film. I was lucky and fell right into a musical universe that the director and I shared. She took the cue to the filmset and played it during the shooting of that exact scene. The cue survived the hole journey and ended up being a part of the final score.
Novelle Film - Nimbus Film
Director: Charlotte Sieling
Ghita Nørby
Malene Schwartz
Jesper Christensen
The music:
Tut og Tone is a poetic short film about finding love late in life, or maybe it's about moving away from things you know or maybe it's about death. Three of Denmark's greatest actors unfold the story in this little poetic miracle written and directed by Charlotte Sieling. Charlotte and I met and talked about the story. Before a frame had been shot, I composed the music for the balloon ride which was supposed to be at the end of the film. I was lucky and fell right into a musical universe that the director and I shared. She took the cue to the filmset and played it during the shooting of that exact scene. The cue survived the hole journey and ended up being a part of the final score.
Y som Yrsa
1991
Novelle Film - Den Danske Filmskole
Director: Kari Vidø
Hanne Stensgaard
Ulver Skuli Abildgaard
The music:
Y som Yrsa is director and writer Kari Vidø's graduation film from the Danish film school. It is a slightly mystical story about the fear of being bored to death in the conforming structures of life. We follow Yrsa who, in an attempt to break out of the claustrophobic predictability of her marriage, takes a job as a cleaner in a mysterious property in Copenhagen. And then life takes off.
The music is minimalistic and jazzy and mostly serves the purpose of emphasizing the mysterious and almost dreamlike scenes that unfold for Yrsa. The great Flemming Agerskov plays the trumpet.
Novelle Film - Den Danske Filmskole
Director: Kari Vidø
Hanne Stensgaard
Ulver Skuli Abildgaard
The music:
Y som Yrsa is director and writer Kari Vidø's graduation film from the Danish film school. It is a slightly mystical story about the fear of being bored to death in the conforming structures of life. We follow Yrsa who, in an attempt to break out of the claustrophobic predictability of her marriage, takes a job as a cleaner in a mysterious property in Copenhagen. And then life takes off.
The music is minimalistic and jazzy and mostly serves the purpose of emphasizing the mysterious and almost dreamlike scenes that unfold for Yrsa. The great Flemming Agerskov plays the trumpet.
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