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Brian Eno
So to say it simply, my process is not a straight path from A to B. I try to let my mind be free. Free it from the constraints one might assume to composition. To just allow the present to affect the future, to live in the moment, to not judge or predetermine what it is that I’m creating.
If it wants to be this, I go there, if it wants to be that – I just allow it. I go with the flow, don’t slow down. Speed is the key for my exploration. I don’t worry about the details until the picture is completely clear and in my sights. Until then unimpeded thought, freedom to allow this to go wherever my imagination takes me. Without freedom to roam, I could be hit by a creative thunderbolt and it’ll just leave me stunned, not inspired.
I don’t think of the end before I begin…I WANT a blank page with no edges so I can zig and zag my way through till what I’m chiseling at, reveals itself.
Nothing is off the table….any sound can be music (OK maybe not everything) I just need to find its place…a place on the page, a place in my head. If I don’t see something working yet in my creation, I don’t throw it away – I put it aside, I might come back to it. Everything can and will affect all the other parts – one may push aside the other, it might complement it, or it may lead me down another rabbit hole altogether. Everything is raw material, everything is relevant, everything is useable.
Not every path is going to be great, some might just be shit. I don’t get married to my music. If it doesn’t work – that’s ok. Through this process I’ve at least figured that out. And because I never slow down…I don’t lose time. I don’t try to make it fit. I’m FREE to start again anytime I choose…
Oh The Glamour! Life Of A Wardrobe Assistant
Gemini Nominated, Multi-Canadian Screen Award winner, and Juno award winning composer/arranger/song-writer Trevor Yuile practically thinks in music. For him, music provides the emotional glue that connects the inner world of each character with the audience. Thus, a great music soundtrack is all about communicating the heart of the story in as efficient, but artful way as possible. A few of his TV credits include Into The Badlands (AMC), Orphan Black (Space, BBC America, CTV, BBC Three), King (Showcase), Being Erica (CBC, BBC, ABC Soapnet, in 27 countries), Stella & Sam (Disney), and Billable Hours (Showcase). As a songwriter for Universal EMI/BMI and Maple Records, Trevor has had songs featured on Greys Anatomy, and The Ghost Whisperer. He also has writing credits for Disney Canada's Harriet the Spy, and CBC's How do you Solve a Problem Like Maria. His sound is often characterized by innovative pairings of instruments, and beautiful melody lines. He boldly integrates differing styles and genres of music to achieve exciting new results and has arranged for practically every kind of ensemble, real or virtual.
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