Meet Adrian Gucze, Composer of KOBK
Hi everyone! I’m Adrian, composer from Germany. I am composing for a couple years now, in almost every form of media possible. I’m a huge believer in indie film
which is also one of the main reasons I got sucked into this project!
Composing History leading up to KOBK (any accolades, big projects, etc…) :
I’m with a company/creative collective called IMAscore (www.imascore.com). We are basically a one-stop audio solution for industry clients covering the whole range from small voiceover jobs up to internationally airing trailers for Hollywood movies but also working on whole areas in theme parks all over the world. Every now and then, when there is a little downtime I then hop onto projects like Kill Or Be Killed.
What/who are your biggest influences as a composer?
There are so many good composers out there and so many that are swept under the rug, but if I had to name a few composers that had a big musical impact : Alan Silvestri, Austin Wintory, Johann Johannson, Michael Giacchino and a ton more that I’m currently forgetting.
What attracted you to the project?
The art of indie film itself! I whole-heartedly believe that there is more power in indie films than most people think. There is always such a huge potential in those subcultural developments in the film industry and they have a huge impact on the mainstream, even if it is not directly or instantly visible. For example take a look at the whole movement that got started with A24 and how their non-mainstream stories started getting mainstream attention and bringing more and more indie studios to the table and give a chance to anyone who has a good idea and a good story to tell.
What is your process like for scoring?
Super unique with every project. Sometimes I instantly know what a scene needs and what it’s supposed to sound like after I talked to the director. Some other times it’s a multiple-week long journey to find something that will fit the vision of the film. Every project is literally a different experience but there is definitely something to learn in every single one of these projects.
Whenever I do scores I also tend to peek to similar movies and see what they did musically and how they solved different changes of moods for example . The key in this is not to copy what the other composer did but to get inspired by it and build and expand on that and make it something that perfectly fits into the project I’m currently working on.
What was the most challenging scene to score and why?
Definitely the action sequences. Lots and lots of edits/hit points that had to match up with points in the music that would make sense while not becoming repetitive and sounding "fresh“ all the time.