Popcorn Talk Network University, the online broadcast network that features movie discussion, news, interviews and commentary proudly presents “On The Fly Filmmaking (OTFF). Marielou Mandl interviews filmmakers and artists, from different facets of the industry, and discuss their involvements with production. Here you will learn free tips and tricks of filmmaking that they do not teach you in film school, and then you too can produce a movie!
Host & Producer Marielou Mandl (@MarielouMandl) interviews Composer, Tree Adams!
I write music for a living. Typically, a composition forms in my head before I even pick up an instrument and often, the center piece of an idea will evolve by experimenting with a sound or a piece of gear in my studio in the initial stages of the process. Although my primary skills as a performer are as a singer and a guitarist, I employ a much more expansive palette for my adventures in film, games and television.
I’ve spent a lot of time on the road as a touring musician and still play live. I draw a great deal from that experience and from the context of ensemble recording. While I enjoy the mad scientist/alchemist side of being in the studio and manipulating soundscapes by myself, I am also a big believer in collaborating with other musicians and the magic that comes from that dialog: air being pushed in a room through a particular tube mic pre, the distinct and unique character of a performance etc. It has been a wonderful adventure so far and I still get excited as I embark on each new gig.
The musical style of my recent projects run the gamut: a haunting battle score for Jason Rothenberg’s THE 100 (CW.) The score is rife with middle eastern colors and epic orchestral themes. Ken Biller’s international espionage thriller, LEGENDS (TNT) features a more minimalist approach combining solo cello and electronic soundscapes. For the John Hertzfeld’s redemption film “REACH ME” (MIllenium Films), a traditional orchestral score. A gritty rock score for “CALIFORNICATION” (Showtime), an urgent cerebral score for the crime drama, “PERCEPTION” (TNT) a high energy electronica score for action/thriller “RUN” (Millenium Films.) A dusty western score for “SWELTER” and hip hop for Denis Leary and Bob Fisher’s comedy “SIRENS” (USA).
I’ve done gigs in every style imaginable: thrillers, comedies, dramas, horror, action, electronica, hip hop, rock, jazz… you name it. I’ve done a great deal of work writing and producing songs, recording actors and dealing with pre-records. Bottom line, I cover a lot of ground with these different projects and in the process, I get the opportunity to make music with some incredibly talented individuals.
I wrote my first song when I was 7 years old, suffice it to say it sucked but the point is that I’ve been writing music for the better part of three or four decades. Early on, I had classical training, then somewhere along the way I heard Hendrix at which point I decided this music thing might be fun. Nowadays I spend a great deal of time collaborating with filmmakers and so I deal with music as it applies to storytelling.
Thanks for listenin.’
Tree is represented by Amos Newman at WME