Jason Acuña

I have had the good fortune of being born with an extreme case of musical ADD. My preferences in movies and music are constantly shifting and what I'm passionate about now will probably change in the next five minutes. Or, at the latest, tomorrow afternoon.

But this is why I've ended up in film music - I love the challenge of writing in a variety of styles. "'A variety of styles'? But every film composer says that!" you say. Well, my preferences (or my specialty, if you will) at the moment are pop/rock/symphonic hybrid scores (so think - Old School, Ocean's Eleven, Superbad, Wedding Crashers, Sideways, Dodgeball, etc), disturbing music meant to cause physical illness (The Devil's Rejects, Hostel), and most importantly, music that dares to be quirky and experimental, and stands out from the usual Hollywood symphonic fare (American Beauty, Eternal Sunshine of the Spotless Mind, Amelie, Synecdoche NY, I Heart Huckabees, Howard Shore's music for David Cronenberg's films, the music of Morricone and Nino Rota).

Now, don't get me wrong, I love that classic Hollywood orchestral sound, but the filmmakers who've caught my attention recently - Charlie Kaufman, Spike Jonze, the Coen Brothers, Wes Anderson, Jean-Pierre Jeunet - don't use that sound, and that's influenced my current writing. And the fact that I can't pull a live 60 piece orchestra out of my back pocket has also influenced my current writing. But to me this makes film scoring even more of a creative challenge. Like Robert Rodriguez filming El Mariachi, I love coming up with alternative solutions. So, it's my sincere goal to work with visionary filmmakers -- people who are committed to creating something different, something unique.

And, if possible, something filled with a lot of vulgar humor.