Geoff Zanelli. Press Kit Prepared By:

Transcription

1 Geoff Zanelli Press Kit Prepared By:

2 Geoff Zanelli composer Emmy Award-winning composer Geoff Zanelli has become a standout in the film and television scoring industry garnering accolades and recognition for his work since going solo after numerous collaborations with Academy Award-winning composer Hans Zimmer. Recently, Zanelli completed the score to the Summer 2012 release of Disney s fantasy drama The Odd Life of Timothy Green, starring Jennifer Garner and Joel Edgerton. A Southern California native, Zanelli began his musical career as a guitar player and songwriter for numerous local acts. In 1994, he met Zimmer and was offered a job Remote Control Productions after Zimmer recognized Zanelli s musical talents. Now, Zanelli is known as a versatile composer who combines music from different genres and cultures while using instruments and other live sounds rather than electronic music. In 2006, Zanelli earned his first Emmy after scoring the original music for Steven Spielberg s miniseries Into The West. A few years later, Spielberg once again tapped Zanelli to score HBO s The Pacific, which earned him his second Emmy nomination. Other credits include: DreamWorks and Paramount Pictures Disturbia, 20 th Century Fox s Hitman, The Weinstein Company s Outlander and Lionsgate s Gamer, among many others. He co-wrote the song Don t Make Me Wait for Disturbia. Zanelli has also collaborated with composers John Powell, Harry Gregson Williams and Steve Jablonsky on many feature films including: Disney s Pirates of the Caribbean: On Stranger Tides, Pirates of the Caribbean: At World s End, Pirates of the Caribbean: Dead Man s Chest, and Pirates of the Caribbean: The Curse of the Black Pearl ; the Golden Globe-nominated scores for Warner Bros. The Last Samurai and Touchstone Pictures Pearl Harbor ; Paramount Pictures Rango, MGM s Hannibal, Columbia Pictures Angels & Demons, DreamWorks Antz, Chicken Run, Shark Tale and Madagascar: Escape 2 Africa. Additionally, Zanelli has written music for directors Gore Verbinski, Ridley Scott and David Koepp; producers Jeffrey Katzenberg and Jerry Bruckheimer; as well as actor/producer Tom Hanks and David Duchovny. Zanelli has degrees in Film Scoring and Music Production/Engineering from the prestigious Berklee College of Music. He is an active alumn at his alma mater and has participated on a major curriculum development task force [official name?] as well as given seminars to students studying composition. Zanelli has received the Doug Timm Award in recognition of his film scoring work and the Music Production/Engineering Scholar Award, both from the Berklee College of Music. Press Contact: CW3PR Emilie Chan-Erskine emilie@cw3pr.com Jordan von Netzer jordan@cw3pr.com

3 FEATURES AND INTERVIEWS

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43 Continued Kaya Savas: So I am speaking with Emmy winner Geoff Zanelli, who is not only one of my personal favorite composers but was actually the first composer interview I ever did back when I launched this site as a blog. That was two and a half years ago, but it s great to do it again. Geoff Zanelli: Yes, indeed. Thanks for having me back. Kaya Savas: Um, so you ve been busy since the last time we spoke um Geoff Zanelli: A bit. (laughs) Kaya Savas: Doing movies like You May Not Kiss the Bride, Beneath the Darkness, and this year you have Should Have Been Romeo and of course, The Odd Life of Timothy Green. Geoff Zanelli: Right Kaya Savas: Which I was at the SCL screening with you and it was a very, very great, moving film, I mean, and you scored, beautiful everything just all around, very well done. So, what about the story appealed to you as a composer and what did you try to achieve musically with Timothy Green? Geoff Zanelli: Well, let s see, when I first read the script, I kind of latched on to the way it kind of handles parenting and how it talks about the themes of being a parent because I actually just had a child about a year and a half before I read the script. So, I like to say the stars aligned and kind of gave me this gift of a chance to work on a movie like this. It was so in line with where I was in my life, so that was the first, you know it was kind of instance. And then once I met Peter Hedges, the director, I just felt like a real kinship. You know, he and I are cut of from the same cloth, we both stay up late at night obsessing about our movie and so it made for a really good collaboration. But musically, I was trying to get into the idea that these are, you know, regular folk and it s a regular, you know really pretty common problem really. They can t conceive a child, and but they sort of wish one into existence. So, I approached it from that angle and I thought, well, that means we get to use, sort of, folky instrumentation if we want to and it opened up kind of instrumental colors that I could bring to the end of the score that are built into the story. Kaya Savas: And after seeing the film and after seeing John Toll s amazing photography. Geoff Zanelli: Yeah. Kaya Savas: Does the image of the film play any part of how you wrote it? It just reminded me, because I m from the east coast, so it reminded me of the fall and I was like, man, I really wish, miss fall so ( laughs)

44 Continued Geoff Zanelli: Sure, yeah it had a huge impact actually and it s funny when you bring that up, because when I first read the script I wrote a piece of music, this is sort of how I got the job, I wrote a piece of music, and we, you know, sort of managed to convince Disney s music department to send it to Peter Hedges, and that generated a meeting. But that piece of music was written just to the script. So when I sat down with Peter, he goes, well let me show you the movie and I ll play it to you dry, and there will be no temp music or anything, but I think you ll see, you know you have a great melody, but you need to think a little bit about what it actually means to this movie. So he played me the movie, and you know like a minute into it I went, ok so I ve got a good tune and I know that but my arrangement was sort of bigger than it needed to be and maybe a little more orchestral or a little more conventional, for lack of a better word, and as soon as I got to the end of the first scene, you know, I went hang on we have so much more to work with, that s what I mean with the folky instruments. So I started grabbing the dulcimers, and guitars, ukuleles and mandolins, and you know just sort of more instruments that you don t hear quite as often in film music, of course they get use to it. I got to kind of spread out a little bit and that really is because of John Toll s photography and just the look of the film. Kaya Savas: Right, and so now the topic or subject matter of the film as you mentioned involves an infertile couple who can t, you know, they can t conceive a child and they wish their dream child, I mean that has, that deals with a lot of serious life issues Geoff Zanelli: Yeah Kaya Savas: And also, has to be heartwarming and open and then you have the magical element kind of to it all. How did you find the right tone because that seems kind of like a nightmare trying to nail down the right tone? Geoff Zanelli: You know it is, I don t know about nightmare but it is a delicate and subtle thing that you have to work on. And the goal was always to be, you know, to keep it with the lightest touch possible. You re in territory where people, you know, it s a real struggle for people who are going through it, it s profoundly depressing and hard, all the things. And the goal for the movie is to be uplifting and to kind of give hope and inspire people really. So most of the time when we were dealing with the heavy subject matter, I was trying to be as light as possible while still supporting it because you get the heaviness in the performances, you know, of the cast. They re just sort of top to bottom perfect, they re really great. So they didn t really need me to come in with a big, you know, music with a whole bunch of gravitas. They needed me to come with music that just sort of cradled their performance a little bit. I was definitely something that we would work on and readdress and reassess. All the time we were looking at things. There were times I would write a scene and that scene would feel great but then when you watch it in the run, in the first 40 minutes of the movie for instance, you start to realize well now it feels a little weighty here and maybe you don t need music there. So there s a real constant process of reevaluating, you know, not only with the music was but how much we needed it at all, how loud it should be against the dialogue. There was a lot that went into getting that to, kind of balance properly.

45 Continued Kaya Savas: Right, right and there were a few moments in the film where score was noticeably absent and it was to a really great dramatic effect. How important is it for a composer to know where and when to back off and kind of not interfere at all? And did you how do you come to terms with that in the spotting session? Geoff Zanelli: Ahh, well we decided when to do it in the spotting session, yes, but we always stayed open to the possibility that we learned something down the road that make us re-jig something. So, in other words, indeed we did do a formal spotting session but I think if we were to go back and look at the original notes, there is at least one more cue in the early reels that is no longer in the picture, and one cue in the early reels that was never in the spotting. So, these are things that evolved over time. I think it s crucial though to speak to your first question about how important is it to know when to play music and not to. I think it s crucial. I think that the most important thing really that a film composer is doing is the grand architecture of his score. And that means, where should there even be music to begin with? And it s also something that, you can t just decide on day one, having not written a note yet, you have to just let it kind of evolve. Kaya Savas: And you also mentioned that you have a family now, you re a father, and so, would you have been able to write the score before or a couple of years ago? Geoff Zanelli: Oh before? Before, I don t think so, I don t think I could have. I think I would have thought I could have but I don t think I could have (Kaya laughs) And it s actually pretty eye opening for me in that sense. You know, I just was somehow able to approach this movie from, from the point of view of Timothy or really the point of view from Timothy s parents. You know, like I know what it feels like now to watch my child do something for the first time. And you can t put that into words and you can t describe that to someone who it hasn t happened to yet. So, that s the thing, my work has always been strongest when there s something that I can pull in from my personal life to, kind of, make myself relate to the film. Now obviously, I ve never been a pirate, so (Kaya laughs) So it doesn t come into play with pirates But other things though, you can get into like a behavior that a character has in pirates or an event or something like that. Kaya Savas: Right Geoff Zanelli: So, you know, you just have to find your way into the movie. But in this case, it was just so easy. It s about what I m doing right now, every single day. So that was um, it was great.

46 Continued Kaya Savas: And I think one of the most emotionally anchoring parts of the score is your central theme that we kind of hear over the opening credits and it s such a beautiful melody, and you were talking a bit at the SCL screening about how as a composer, you don t get a chance that often to write big melodies. Why do you think that is and why do you think it s such a luxury when you get to do such a thing? Geoff Zanelli: You know, I think it s really just kind of a statement about what film music has become. These are things that change over time too. It s a very typical thing. I think right now your seeing a lot less emphasis placed on big melodies. As far as why, I really couldn t tell you, I don t necessarily know why. I do think, you know, I ve done movies where I didn t need to have the big melody, so it has probably more to do with the movie itself or the director of the movie, how its made, just like, the design of the movie. In this case though, you know, it just ate it up, it soaked up any melody you threw at it. You almost get, sort of, gluttonous about being able to be melodic in the film if you re the composer on something like this. But for me it was really important because we get to go and have any actual resonant musical quality for a lot of different characters. There s actually quite a few sub things as well, that kind of reoccur in a few different fashions and it was very, sort of, classic in that sense you ve got a theme and got variations of it that kind of evolve with the characters of the story. Kaya Savas: And you mentioned working with Peter Hedges as well who is a fantastic writer, who wrote and directed this film. Is there a difference working with the director who is also the writer versus a director who didn t write the script, did you find him to be more attached to the material than the director who is just handling someone else s script. Geoff Zanelli: Oh, well, I do think there is a difference in directors who are also writers, in that the writing process, of the written word writing process, I think is similar somehow to the writing process of music. So, I do find when the director is also a writer we develop a shorthand much faster. You know they understand the same, you know it s a very similar problem than looking at the architecture and things like that of their whole film and so you can king of engage with them, I guess just with the vocabulary that s similar to your own. I hope that makes sense. It doesn t mean that, you know like, I ve worked with guys like Gore Verbinski who directs other people s material and they are just as in tune with their film or anything. I do find that there is a difference. I think it s just in the mindset or just the process they go through. Kaya Savas: Well, last time we spoke I wrapped up the interview by asking you If you could score any film ever made with no disrespect to the original composer, what film would you choose? And you said Willy Wonka. Geoff Zanelli: Yeah. I was about to say it again. (laughs). Kaya Savas: Really great choice. But now I ll ask you, what s your favorite, you ve been working in film music for such a long time now, what s your favorite genre that you found that you ve really attached to.

47 Continued Geoff Zanelli: Interesting. Well, this has been such a good experience for me, Timothy Green, and so I d kind of have to say right now my favorite genre is fantasy dramas about boys with leaves on their legs. I don t know what genre to call this movie besides it s a good movie. But I d have to say once I tried that hat on it felt very comfortable. I think you can look at my old credits and you can go, there s no precedence for me to do a movie like this. It s really unlikely that Peter Hedges called Disney and was like I want the guy who did Disturbia to score my film. So I had to go in, and I had to write a lot of music and sit down with him, and get him excited about what I had to offer. And it worked out, well obviously it worked out that I got the job, but it s sort of an old school way about getting a job. You write some music, and the director likes it, and then you go from there, is actually not way it normally goes. It takes a certain amount of convincing. I think, when you ve written a beautiful movie like this. He s kind of got his pick of the litter, so to speak. And I know he had a lot of interest from composers. Anyway I m rambling a little bit, but I have to say, once I got the chance to try on a movie like this, with something that I ve never done, it just felt so right for me, especially right now in my life. Kaya Savas: It is definitely, I think, your most personal score. And it really comes through in the music. It s a very beautiful piece of work. Geoff Zanelli: Thank you. I appreciate that. Kaya Savas: Thank you so much for your time. It was such a great pleasure to chat to you again. Geoff Zanelli: Of course. It s good to hear your voice.

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54 Continued (Patrick Phillips Show opening Introduction) Patrick Phillips: Welcome into the program. Coming up tonight, Emmy award-winning composer, Geoff Zanelli joins me to talk about his score for the Disney fantasy film The Odd Life of Timothy Green. We ll learn how Geoff used his personal experience as a father while composing for the project and we ll take a look at his scoring process. All of that and more coming up tonight. Patrick Phillips: And it s a pleasure to welcome Geoff Zanelli into the program. Hey Geoff, thanks so much for being here. Geoff Zanelli: Hi, you re welcome. Thanks for having me. Patrick Phillips: Man I tell you what, I first saw the trailer for The Odd Life of Timothy Green a couple of months ago, and I remember saying to myself at that point that this looks like one of those really cool fantasy films. How did you get involved in this project? Geoff Zanelli: Well let s see, I just finished working on the fourth Pirates of the Caribbean movie and right when we finished up, you know, the guy that I was working with, the whole team was headed up by Hans Zimmer, and he said to Disney, Look I ve always had this guy as my right hand man in all the Pirates movies but there is so much more to him. I wish you would take a listen to some of his other music Patrick Phillips: Sure Geoff Zanelli: and see if there is something you can connect with him down the line. So Disney calls me up and they have a script for The Odd Life of Timothy Green and their head of music Mitchel Leib says, Here why don t you look at this and if it inspires you write some music and I ll get it over to the director. So it was kind of the old school way. I read the script, I got really really excited, like the stars had kind of aligned. (Patrick Laughs) Geoff Zanelli: And it had kind of handed me this movie that was so perfect for me at that time in my life. And I just started writing music, eventually it got into the hands of the director, Peter Hedges, who showed me the film, and we just took off from there. Patrick Phillips: Well you mentioned that you had worked with Hans Zimmer, you know, before. Geoff Zanelli: Yes Patrick Phillips: And you worked with him for a really long time. Was there ever a point where he influenced your sound as a composer or did he just kind of mentor you to some degree?

55 Continued Geoff Zanelli: Well, no I think it s both actually. He certainly was one of my mentors and also I used to work for a guy named John Powell Patrick Phillips: Oh, yes Geoff Zanelli: Another great composer Patrick Phillips: Love him Geoff Zanelli: Yeah, oh good, me too. So I have, kind of, a unique set of amazing and very different musical mentors. But, I think it s inevitable that I d be influenced by their music. Another thing that Hans would say to me was that he would bring me onto his projects to bring a new idea. I can think of an example, in the second Pirates movie where I wrote the music for Cannibal Island, and he pulled me aside after he listened to my first pass and he says, Look I don t know how you write strings like that, it s just so Geoff Zanelli. Patrick Phillips: (Patrick Laughs) Wow. Geoff Zanelli: So I think there s a certain amount of, kind of, both. I am certainly influenced by his work, but there are also times, like that, where I am bringing something like that to him that maybe isn t in his vocabulary. Patrick Phillips: That s great, you know, and people can actually go on your website at Geoff Zanelli, and Geoff is spelled with a G, GeoffZanelli.com is your website. I ve listened to various samples of your other projects there on your website and I noticed that you typically write for a really large orchestra but on The Odd Life of Timothy Green you scaled it back quite a bit and gave us, kind of, a folk sound. Geoff Zanelli: Sure Patrick Phillips: Was there a reason behind that decision? Geoff Zanelli: Yeah. I think that you hear me writing for large orchestras is really kind of a product of the movie that you were listening to, like Pirates, but we need the fire power. Patrick Phillips: Yeah, absolutely. Geoff Zanelli: We need to dive, you know and it needs to be that big summer movie and you can t let it down. In this case though, I just wanted to get really in touch with the characters and with the story. For me, it s about the salt-of-the-earth couple, Jim and Cindy Green, who cannot conceive a child and they sort of wish one into existence. So, the biggest the music can really get is when there is a supernatural element when they are dreaming up a child and when, you know I don t want to give away any of the story.

56 Continued Patrick Phillips: Sure Geoff Zanelli: But when I needed it to be a little supernatural, I used the size of the orchestra. But for the most part, it s a character driven score, so I wanted to make sure that we honor the folky nature of those two characters and the innocence and, kind of, childlike but still wise characteristics of Timothy Green. So in that case my orchestra was eight string players instead of on a big movie you might have, well you really might have eighty. So, yeah it s quite a bit smaller than Pirates. (Music starts playing in the background) Patrick Phillips: It s very intimate, the way that you ve written for the instruments and the way it comes across and in your cue you re going to find it hard to believe. Can you walk us through that cue just a little bit, and kind of explain the some of the instrumentation? Geoff Zanelli: Sure, sure. That cue is really Timothy Green s theme. It is one of the first things I wrote for the movie. I wrote it just to the script so I hadn t even seen the picture yet. But it ended up being, kind of, virtually unchanged and used as the main title. So, let s see, I was trying to keep it, like I said, a little bit folky but this is Timothy s theme and it also has a childlike nature. There s pianos in there, there s some ukuleles, accordions. (Music stops playing) There s really instruments where you can really hear individual musicians as opposed to a huge orchestra sound. You hear bells, there s an instrument called a dulcitone, there some celestas in there too. And that s all just to kind of give on to the naivety but also wiseness of Timothy s character. Patrick Phillips: I also found it incredibly cool that you pulled upon the experience of being a dad and actually applied that to the film and that really comes through. Geoff Zanelli: I m glad to hear that. I sort of half-jokingly refer to it as method composing. (Patrick laughs) Geoff Zanelli: And you know, I don t think that I could have really written the score if I wasn t a father. That s partly what I meant by when I said that the script came to me and it felt like the stars had aligned and it gave me this gift at the perfect time of my life. You know, I became a father about a year and a half before I read that script, and it just connected with me pretty quickly. Then when I met with Peter Hedges, he said to me, Peter is the director, he says, This is a movie about what children can teach you if you let them. And that s all I needed. I said, I need to work with this guy. He was so in tune with what was happening in my life at the time.

57 Continued Patrick Phillips: So often enough film directors don t always get the music. They don t always understand the process, and for you in this case, Peter Hedges, the director, actually shot additional footage to match your music. What was that like for you? Geoff Zanelli: He did. That was amazing. What happened was there is a sequence in the movie, which is a young boy and a young girl, go on a bike ride. (The scene s music starts playing in the background) What happened was I wrote a piece of music for this scene and we were even considering maybe finding a song for this scene and I was thought, well, its kind of our love theme in a way. And we had been using it all throughout the film so shouldn t we play it here instead of just a song that s kind of alien? So I wrote a cue and Peter Hedges watched it and he said, Man, this is great but the problem is, now my picture isn t big enough for what you ve done. Patrick Phillips: Wow Geoff Zanelli: So I m going to get on the phone with Disney and I m going to see if we can do some additional photography. And that s what they did. They added a little bit more temp and kind of size and scope to that sequence, which goes a long way. (The scene s music stops playing) The idea is you ve got two very young people but it s not right to trivialize their emotions. It s a really powerful, potent feeling when you re ten years old and you have your first crush or your first love really. Patrick Phillips: Right Geoff Zanelli: So now we have a piece of music and some footage that kind of honors that. Patrick Phillips: What a great compliment. I mean that is so neat. Geoff Zanelli: It was really something, yeah. Patrick Phillips: And it doesn t happen that often. Geoff Zanelli: Well that s true. You know, I think when you have good filmmakers working together and sort of all looking up at the film and helping it become what it wants to become, you know it s okay to be inspired by each other. He certainly inspired me and in that case, I inspired him. Patrick Phillips: What a great story. And one of the things that I ve also noticed is that you ve written a lot of music. You ve written for just about every genre out there.

58 Continued Geoff Zanelli: Sure Patrick Phillips: What is the difference when it comes to scoring a fantasy film like The Odd Life of Timothy Green? What s the difference between a fantasy film and a drama or comedy? Geoff Zanelli: Well, you know, I actually had to go and prove that I could do it. Something like The Odd Life of Timothy Green is not really represented in my prior credits. I can t imagine Peter Hedges calling Disney and going, Let s get the Disturbia guy for this movie. (Patrick laughs) Geoff Zanelli: So I had to go and write him some music. This is something that I have always wanted to do, I like these movies, you know. You re talking to a guy who grew up loving Stand By Me and Edward Scissorhands and Big. These were movies that meant a lot to me but I never get to work on. You know, I m busy doing Pirates, and I love it. But it gave me a chance to spread out. Musically though, you have a little more freedom in how you re approaching the instrumentation. And like you said earlier, if it s Pirates it s the kitchen sink. It s a huge orchestra, huge percussion, you could have choir if you needed it. You could have anything you d ever need. In this case, you re trying to find specific instruments and specific melodies that attach to the characters in a way that doesn t overwhelm the picture. Does that make sense? Patrick Phillips: Absolutely Geoff Zanelli: So it s much more subtle. Patrick Phillips: Well The Odd Life of Timothy Green comes out on August 15. Is it weird for you when you re at these premieres and you ve been going through the footage and you ve been composing and writing and you know that footage intimately, and then you meet the actor or actress from the film, what s that like for you sometimes? Geoff Zanelli: Well, the thing is, especially in a case like this, where the performances are just flawless and nobody lets the movie down in their acting. It s really hard for me to separate their performance from who they actually are. I know that sounds weird, but it s like I meet them and I expect to meet Jim Green not Joel Edgerton. (Patrick laughs) Geoff Zanelli: Because it s just so compelling, genuine, and honest in the way they portray their character. Once you get past that, of course, it s quite cool to just get to know them a little bit as a person. Patrick Phillips: Yeah that s great. Well are you working on anything currently Geoff?

59 Continued Geoff Zanelli: Let s see, I just finished something actually. It s an album that Peter Asher is producing and he s producing an album for Steve Martin and Edie Brickell. And Steve Martin is playing banjo and Edie, of course, is singing. And I did the string arrangements for that. (Music starts playing) So I think it s for about five songs on their album with that finished. And I did an independent film called Last I Heard and that I am just about to finish up as well. Patrick Phillips: Well something to look forward to. Folks, I wanted to remind you can listen to Geoff s music on his website at GeoffZanelli.com. That s G-E-O-F-F-Z-A-N-E-L-L-I dot com. Geoff, thanks so much for being here on the program. Geoff Zanelli: Of course Patrick Phillips: I appreciate it man and I look forward to hearing more of you. Geoff Zanelli: Good, thank you very much. I appreciate it too.

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65 The Odd Life of Timothy Green REVIEWS

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81 Media Alert Premiere / Red Carpet

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83 Continued Piper Reese: Hi guys, I m Piper Reese from Piper s Picks TV and I m here with Geoff Zanelli. Geoff Zanelli: Hi. Piper Reese: So you re the composer? Geoff Zanelli: That s right, I am. Piper Reese: Was it hard to do it for all of the strange things that go on in this movie? Geoff Zanelli: You know, not so much hard but inspiring. It is a beautiful movie and there are so many kind of crazy left to center things that happen, that you just always got a new challenge and new things to be excited about with music. Piper Reese: I saw the movie and there was a lot of songs in it. Geoff Zanelli: Yeah, there s a whole lot of score and at the end there s a great song by Glen Hansard. I hope you heard that, it s in the end credits. It s a beautiful song. Piper Reese: Did you do all of the songs by yourself? Did you have a team to help you or anything? Geoff Zanelli: No, it was just me. Piper Reese: Oh wow. Geoff Zanelli: Well, other than the Glen Hansard song, the rest of the score, all me. Piper Reese: How long does it take you? Geoff Zanelli: It took um, I think we had about 12 weeks to write the whole score from start to finish. Piper Reese: Do you have a twitter account? Geoff Zanelli: Yes,

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87 Geoff at green carpet LA premiere ofthe Odd Life of Timothy Green at El Capitan Theater August 6, 2012 Geoff with The Odd Life of Timothy Green Director, Peter Hedges Geoff with wife Jennifer at The Odd Life of Timothy Green LA premiere.

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92 The Odd Life of Timothy Green screening and Q&A for The Society of Composers and Lyricists August 8, 2012 Geoff with SCL President, Dan Foliart. Geoff Jeff Jernigan (ASCAP), Laura Dunn (SCL), Dan Foliart (President, SCL), Mike Todd (ASCAP), and Nancy Dolan (Disney)

93 Geoff at The Odd Life of Timothy Green Disney Digital Sound Screening August 7, 2012 The music and sound brought the film to life. It makes it alive. It makes it feel real. - Peter Hedges, Director The Odd Life of Timothy Green Geoff with The Odd Life of Timothy Green Director, Peter Hedges I ve worked on a lot of movies, and there s something magical about this project s truly iconic score. It is beautiful and melodic. It connects to the story so well. - Dennis S. Sands, Music Scoring Mixer The Odd Life of Timothy Green Geoff talking with fellow sound team panelists, Peter Hedges, David E. Fluhr, Dennis Sands, Jay Richardson and Brian Dinkis Geoff is such a good guy, and so talented. This movie and score is going to elevate him substantially. - Dennis S. Sands, Music Scoring Mixer the Odd Life of Timothy Green

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101 Prepared by CW3PR August 16, 2012 Media Contact: Emilie Chan-Erskine Jordan Von Netzer