As the filmmaker, this was a tough page to create, because in some ways I wish it had turned out differently.  I am totally thrilled with the way Kevin Macleod’s amazing music fits the film and, as an artist, having the ways and means to personally place and shift and shuffle the music into my film was both terrifying and completely exhilarating. However, this joy is accompanied by an edge of sadness, because the rough cut of the film once had a full musical score created by the brilliant Sidney Perez and some incredibly talented musicians. However, the bumped up storyline and the addition of animation and a few other changes meant that the old score just didn’t feel right anymore. I did what I could to hang on to as many elements as possible, but if I was going to be true to this film, and after all this time and effort how could I not, then new music was a necessity.

Although he tried to make time in his busy album producing schedule, Sid, who deserves a medal for how he took the news of my shifting thoughts on the music, was only able to find time to create the absolutely fantastic track for the JFG trailer . I‘m so glad that we have no hard feelings between us and that we actually have plans to work as a trailer-team on other people’s projects.

The music that was used in the film comes from the great Kevin Macleod. A New York composer musician who offers his work online. His music has been incorporated into a wide range of projects - from independent short films to Hollywood mega-budget projects like Martin Scorsese’s “Hugo”. Literally hundreds of projects have benefited from the accessible tracks he makes readily available. There is a small download fee if you want the uncompressed file.

His website is

I was like the kid in the candy store; browsing through a seemingly endless library of music tracks that are divided into a huge range of categories; from full orchestral classics to quirky originals and barebones soundscapes - one of my favorites was entitled Long Note Two. A beautifully ominous undertone that became the foundation layer for a number of other musical pieces.

Colouring the emotional layer of the film while providing some fabulous threads that would knit the entire story together. When finally every moment was coloured and every silence explored I could sit back and enjoy how it felt as though the music and the image were created together. That's how I knew it was working, when I no longer focused on the music. When eyes and ears have merged. 

This may not be the most traditional method of creating the score, but as the writer/director/editor of this film it certainly felt like this was a continuation of that process.