MRH: One thing I’ve enjoyed from digital releases - and the comparative label would be Sweden’s MovieScore Media - is that digital opens the door for a lot of composers. Whether they’ve been working for a couple of years or 20 years, their stuff can finally get distribution so people can listen to music from countries who’ve perhaps been ignored by the major labels because of disinterest, or the distribution channels were virtually non-existent, or too complex.

GF: I completely agree. After we’ve approached composers, we’ve seen them come to us asking, ‘How can you press a release like this?’ and we tell them about our digital release, and they’re almost always incredibly enthusiastic and on board because it allows their work to get out there; it allows them to get noticed; it allows directors looking around to see the samples on Amazon and get them more work; and it gets a composer’s name out there.

MRH: In terms of your catalogue, the albums are available from your website, iTunes, and Amazon?

GF: We have relationships with iTunes and Amazon, and both of those work great. It’s very low cost and not much work to put albums on both online stores. It’s something we like to do to get our name out there. We also sell through our site, both MP3 320, and the aforementioned FLAC copies.

MRH: And are there any composers that you admire, and whose work you’d like to represent, if not composers that have influenced your own interest in film music?

GF: I would love to work with Ennio Morricone somehow; I doubt it’s going to happen, but that would be a dream gig. I’ve actually been admiring Bear McCreary for a while, and his work on Battlestar Galactica has really influenced me. It’s a very New Age style of composing. That being said, I’d love to work with him on a live album with the Battlestar Galactica orchestra – another one of those dream projects.

I just have to mention Hans Zimmer because he’s what brought film scores into modern popularity; they’re blockbuster scores, and they sell very well, and he’s a household name, really. That being said, I really don't think I can single out a few composers.

I mean, there are the big ones that everyone knows, but more and more I’m listening to composers you might have never heard of and have a huge amount of talent; those are the guys I also want to work with. Their work hasn't been represented so far, so hopefully 2M1 can do that.

MRH: And Frozen and the Hatchet scores will only be available on CD?

GF: For now. Once we sell out of 500 CDs for each title, we will probably open the door for digital releases, but for now, for our first physical release, we’re trying to do something special.

I’m hoping once Hatchet and Frozen start selling, we’ll have enough money to do another physical release and see where we can expand to, and what rights we can buy.

In mid-December Frozen will hopefully hit our online store, and you will probably be able to buy it through select online retailers, and all copies will be signed by composer Andy Garfield and possibly writer/director Adam Green.