Films are tricky animals.  Comlex beasts with tentacles and teeth.  Winding down the composing project becomes less a matter of creativity or musicianship and more a matter of making sure all those little details are working together.

I’m mastering the finals for “The Next American Dream.”  Which means I’m at the stage in the process where it’s really easy to find things I don’t like as much anymore but the producers plan on using in the film.  It’s the point at which you remember that this isn’t yours.  So you just have to burnish the edges, make it sound its best, and then release it.

I’ll be anxious to see the finished product, and see if I did a good job of being unnoticed.  Because that’s the mark of good writing for film.