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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. Jim Coleman#Brothers 62
Jim Coleman#Brothers 62
Then I took 8 years of French Horn, first jazz, and then classical. Jim Coleman#Classical 57
Jim Coleman#Classical 57
And I definitely have an affinity with the piano. Jim Coleman#Affinity 56
Jim Coleman#Affinity 56
I do remember being in high school and trying to go to an Outlaws concert, but I was too drunk and ended up in trouble with the police at some truck stop on 95 in Connecticut. Jim Coleman#Being 51
Jim Coleman#Being 51
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool. Jim Coleman#Called 50
Jim Coleman#Called 50
As a kid, I used to go see all the jazz players, Oscar Peterson, Stan Kenton, Dave Brubeck, Dizzy Gillespe. Jim Coleman#Dave 50
Jim Coleman#Dave 50
I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward. Jim Coleman#Ahead 50
Jim Coleman#Ahead 50
But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies. Jim Coleman#Contra 49
Jim Coleman#Contra 49
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth. Jim Coleman#Film 49
Jim Coleman#Film 49
I think that one of the strengths of Cop Shoot Cop lay in the different, and at times, clashing personalities, Ideally, I want to have both ways of working in my life. Jim Coleman#Clashing 46
Jim Coleman#Clashing 46
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