MRH : For independent filmmakers, one area that can greatly support their film is a well-written score like   Shadow in the Trees, and some directors might be intimidated to approach a skilled composer like yourself with their roughly edited film, thinking ‘How can I possibly get an orchestral score for my little movie?' What are some of the qualities you look for in deciding whether a film is worth scoring?

JT : To answer your second question first, I'm looking for a project to be excited about, and there are different things that I can find exciting about a film project - a great story, great performances from the cast or crew, a chance to experiment and take risks musically or dramatically, relationships with cool filmmakers, etc. I definitely want to be writing music that is interesting to me, whether it's a beautiful melody, or it's the darkest thing ever, or the loudest thing, or the quietest...

A film that has a budget that will allow me to do something interesting can make that easier. But it doesn't have be orchestra. That brings me to your first question. If a filmmaker wants an orchestral score for their film, they need to budget appropriately. But does the film need an orchestra? The sound of an orchestra is a wonderful thing, but not for every story. It might overpower an intimate film, or it might not speak to time and place as appropriately as some other group of instruments or electronics.

If it is the right sound, but the money isn't there for a live orchestra, there are ways to lessen the cost, just as you would if you couldn't afford to shoot on film. I think the analogy holds true; a movie shot on film looks as good as a score recorded live sounds . If you want an original score, you have to have a line in the budget for it. Films should have their own sound world in which to exist.

MRH :   What are a few key things indie directors and producers should do to make the relationship with a composer a rewarding experience?

JT : There are a couple of practical things that indie filmmakers can do. I like to use the "Trinity of Low Budget", which goes like this: Good, Fast, Cheap - you can have any two. Using this rule, most (unfortunately not all) filmmakers want a 'good' score, and they usually want it 'cheap' as well, which means they can't have it ‘fast.'

The earlier you can bring in a composer, the better. And the longer that you can give the composer to work, the better. It is nearly impossible to stretch a low budget if you are also in a time crunch.

Often music seems to be an afterthought; i.e., after the time and money have both been spent. All joking aside though, I think the things that make composer relationships work are the same for any relationship: trust and communication. Trust will come over time, especially if the communication is good. For filmmakers, I really encourage them to not try to speak in musical terms, just dramatic and emotional terms; it's up to the composer to translate those directions into music.

MRH : And finally, with the positive response to your first soundtrack album, will there be further albums of your work?

JT : I certainly hope so! I'm currently working on two featur es: Late in the Game, directed by Christopher Johnson, and Within, directed by Hanelle Culpepper.