Amiel Matthews
Composer / Music Producer
Brisbane, AUS
www.amielmatthews.com
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Q What do you do?
“I sit, I think, I feel like an imposter then start anyway.”
This can be either composing a score for a short film, creating a disco track for a grant submission, recording a pop artist or orchestrating a John Williams-esk piece for a high profile client. In every case I listen intently to the reference music provided by the client or director, and ask as many questions as is needed. Such as: track length, emotional purpose, what balance of originality vs style cloning to employ, and last but not least - anything to avoid. For a film score the next step is laying out a tempo map as an intensity guide for the film. For commissions without visuals, I’ll record a piano track as a guide. The following steps are usually the same for all compositions; with or without visuals. The various pitch zones (bass, treble etc) are reconstructed using the relevant ensembles. For example, a film score will have the low end string sections laid down first, that is bass and cello, followed by viola and violins. For a popular music style track, the drums and bass guitar will be first. The rest of the piece is filled out with the other essential instruments for that ensemble. After the first draft is wrangled together, I’ll send it to the client for some essential feedback. Using texture techniques, musical theory mixed with gut feel, I’ll design, refine, and align this 1000 piece musical puzzle.
Q What steps did you take to get to where you are now?
I have played music since I was a wee lad, roughly 7 years old. Throughout high school I played in a punk rock band. After graduating I travelled around the world for 18 months, across the USA and Europe. This was essential as I knew I would not be able to focus on a career or further study without ticketing this off my bucket list. Upon returning home I acquired my Certificate IV in audio engineering, while also playing in a metal band. This was followed by starting my own band playing covers in hotels and pubs to earn a living and to pay for the releasing of our original music. At this time building a home studio was too expensive so we hired a local studio. Moderate success was achieved in the form of commercial airplay and tours.
Then “life” happened. (Read - married, kids, band broke up, moved interstate, divorced).
I decided to channel my musical interests towards becoming a high school music teacher. I jumped at every tertiary musical competition that was on offer. I received a few honourable mentions for some choral compositions, and won a commission to have a piece sung by a 300 strong choir at a prominent venue in Brisbane. Through studying music at university I discovered film scoring. An option that had simply never crossed my mind. I built a home studio (now more viable), recorded local musicians and played solo gigs, while attempting to get a foot in the door of the local film scene. Through peddling my wares in front of classes at the local film school, to ‘meet and greet’s’ at Screen Queensland, I attracted the attention of some directors who were happy to work with me, and continue to work with me. I’ve done many compositions for free (as one should) to refine my craft, and still jump at any opportunity that crosses my path.
Q How do you stand out in your field?
I can get out of my own way, that is check my ego at the door when reading clients and directors feedback. I’m naive enough to be over confident in my musical ability, often leading me to bite off more than I can chew, then my imposter syndrome leads me to chew like crazy. I’m not afraid to have a go. I’m also mature enough to admit ignorance and ask dumb questions.
In high school my drama teacher always said “your job, when on stage, is to make the person next to you look good”. This has become my life motto. Whether it's in my new marriage, with my kids or working with a client or director, I see it as my obligation to make them shine. I have found this way of thinking to be truly satisfying.
Q What are you working on right now?
Heaps! One of my regular directors has landed a grant to make a short film. I've just signed the contract to score this. A new director (who I reached out to months ago) has taken up my offer to score one of his films. One of my side hustles is creating cool custom car videos (IG - @yesofficer.media) and I’m doing my Honours degree (Creative Project in music), which is recording an EP of punk rock covers of songs from unique genres.
Q What’s your style?
For film scoring, I have no preference. It’s all fun.
For music producing, I really enjoy creating guitar based music, rock, pop etc.
Q Out of all your slashies, which one do you wish you could do more often?
Film scoring. I love creating as part of a team, where multiple people bring something to the table and the end result is greater than the sum of its parts.
Q What is frustrating you right now?
Finding more paying clients. I actually work at the university where I study. I’m the Technical Officer for the School of Arts (I love my job) BUT this work takes me away from studio time to practice my craft but also from finding new clients and directors.
Q If you could hire someone for $20/hour, what would you have them do to make your day easier?
My taxes. Or finding new clients.
Q What do you wish you could have told yourself, when, and why?
2006 - Don’t marry that woman. The love I have for my kids combined with the ongoing pain of having them with the wrong person, is an unsolvable riddle. Family court is a major roadblock in living one's best life. The silver lining is the gained life experience and the gratitude for what I have now.
As for music, in 2002, I’d tell my young self to explore film scoring.
Q If you could talk to an expert to gain more insight on something, what would it be about?
I already do this with film scoring. There are a few professional composers whose work I admire, who I have reached out to. In my initial email I wrote a phrase to the effect of “I’m an up and coming composer and I admire your work, would it be ok to ask you the occasional question if I get stuck?”. This has always been replied to with welcoming appreciation. What I’d love is to work alongside Tom Holkenborg while he’s composing a score.
Q What kind of opportunities/projects are you looking for?
I’m looking for more short films, up to about 15 minutes in length. I'd love to do feature films too, but let's not get ahead of ourselves. Or let's get ahead of ourselves and chew like crazy.
Q Describe your ideal job/client/collaboration.
I’d love to work with FilmRiot. They’re a film company who have a youtube channel with lots of ‘how to’ stuff. The guys have a great sense of humour and create awesome films. As stated before, I’d also love to work alongside Tom Holkenborg (composer for Deadpool, MadMax). Working on 'Yeah the Bois' with JAM Films was a blast.
Q What is your rate?
Composing score for a short film of up to 10 minutes will require around 30 hours of work and would cost $1500. This works out to be $50/hr. This includes creating the first draft from scratch followed by numerous revisions, then strengthening the instrumentation and arrangements. The final score will be mixed to accommodate the dialogue and sound design.
Q How should someone approach you about working together?
Email amielmatthews@gmail.com or the contact form on my website. Info to include would be budget or super cool thing that would make it exciting for me to work with you, scope of the project and yes a funny GIF is always welcome.
Q Who is a creative you admire?
Jacquie Joy - She is one of the composers I reached out to.
Josh Tanner - He’s a director I reached out to. He makes really cool short thriller films.
Jim Capewell of JAM Films
Kody Bramhall of Daylight Pictures
Q Oh! and… how do you stay creative?
Scratch my own itch. Get excited.
This member profile was originally published in September 2022.