JIM COLEMAN

But in my college years it got to the point where my friends and I didn't do anything without consuming a massive amount of alcohol before we went anywhere or did anything, and you know that.

And when that's working, the sum can be greater than the parts.

But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.

I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.

As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe.

With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.

But things can happen in a band, or any type of collaboration, that would not otherwise happen.

I'm from all over the Northeast.

I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.

Then I took 8 years of French Horn, first jazz, and then classical.

Unfortunately, however, I have too many desires to make a good Buddhist.

First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

Also, differences of opinion can be creatively stimulating as well as frustrating.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

And I definitely have an affinity with the piano.

And I don't know where I'm heading. I mean, I've got a pretty good idea of what I want in life.

And I think that I'd be a natural for scoring horror movies.

But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.

For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.

I grew up outside of DC, New York state, and Connecticut.

I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.

I'm just like you, only I'm different because I'm me.

If the finest hour is now, then I'll always be in it.

In scoring, I usually start with a sound or group of sounds, searching out what feels right.

So, through playing with Cop I realized that there is a potentially interested audience out in the world.