Anamog Talks About His Musical Journeys Through Space And Beyond

Anamog’s latest work is on the short film Anomaly, which is a drama about the space program in the 1960s, which explores some broken relationships that coincide with a major event.

SciFiPulse was recently lucky enough to catch up with Ryan Taubert who is better known as producer/composer Anamog.

Anamog’s latest work is on the short film Anomaly, which is a drama about the space program in the 1960s, which explores some broken relationships that coincide with a major event.

SFP: What was the chain of events that led you into composing and producing music? How did that lead you into working for TV and film?

Anomaly

Anamog: So the director and I had been working on several projects together for a couple of years prior. He came to me with the idea of Anomaly, which was originally just a three minute film and we started discussing a lot about sounds and concepts, but over the course of a year it progressed into a much larger project. Turned out to be a much longer short film. So we already had a relationship there years prior.

SFP: What sort of music and composers have influenced your work and style of work?

Anamog: I listen to a lot of artists as well as composers. I try to dive into any kind of random music I find on the web, just to seek some sort of inspiration. But a lot of times I’ll find little bits here and there from artists who are composers that inspire me and influence some of the music that I create.

SFP: It’s funny because some artists block themselves out from listening to any other music while others such as yourself can take influences from things that are around them. It’s interesting to see how different people work in their element.

Anamog: Yes.

SFP: In the opening scene of ‘Anomaly’ , the score is intense and then it abruptly stops as the spaceship lifts off and other sounds become apparent. Was that your score too, or sound design?

Anamog: It was actually a mix of both. It was actually sound in the score that sounded similar to a rocket taking off and then the sound design process started. Basically the sound design and the score ended up blending pretty well. In some cases they would actually push the score louder because it already sounded like erupted engines. So it was a match of both.

SFP: I’ve noticed throughout the soundtrack that you use a lot of piano. Was there a point in the creative process that you were tempted to add some guitars or other instruments?

Anamog: I did. Throughout the whole time I was always trying to figure out what the sound of Anomaly should be. The director Salomon is very specific about what he wanted so he definitely wanted piano to be the anchor of the score considering the scientist Noel fits the character of the film and plays the piano himself. So it meshes well with that. It was mainly piano and then around that was sound design, textures and feedback noises. Weird things like that.

SFP: If Anomaly was made into a feature film would you still keep the same musical vibe as the short or change it?

Anamog: I think it would probably be fairly the same.

SFP: And why would that be?

Anamog: I think that the score fits with the director’s imagery really well so if he was to make it into a feature film I can’t imagine us bearing too far from that. We would probably play around with more ideas since we would have longer emotional arcs we could portray, but I think it would really still be very similar.

SFP: A lot of the music has a very mysterious feel to it – when scoring for the film did you have the benefit of being able to see some of the film clips to help you with the creation of the music?

Anamog: Initially I was just creating music without seeing any footage at all. The director likes to have some bits of music even if they are just demos in the beginning to influence the way he shoots the film. I created a lot of demo cues at the beginning and many of them actually ended up part of the final score.

SFP: That’s interesting. Working backwards?

Anamog: Yes, pretty much!

SFP: Anomaly was made because of a very successful Kickstarter campaign. Why do you think so many people wanted this movie in particular made?

Anamog: I think to be honest Salomon is a very talented director and he had a lot of great people on board. And I feel like there was no way it was going to go unseen. For the campaign I think the talent was there, the visual aesthetic was there, the presentation was put together really well and any time you put those elements together in the right way, it’s going to be seen regardless. I think it was really just the talent involved across the board that led to the successful Kickstarter campaign.

SFP: Your music was used in the trailer for the movie ‘Alien Outpost’. Have you seen that film and if so, how would you have scored that film differently?

Anamog: I actually haven’t actually got a chance to watch it yet, it’s on my list though.

SFP: If you could choose your own TV or movie projects to write for what genres would you most likely want to work on first?

Anamog: I’m really a big fan of dramas that depict true life stories. So I love period pieces, but I also love modern true story films as well. Films like the ‘Social Network’ and films that depict characters from real life. I’ve always been into those kind of films. They are some of my favorites to watch.

Thanks go out to Jordan Von Netzer for suggesting and helping us put this interview together.

Ian Cullen is the founder of scifipulse.net and has been a fan of science fiction and fantasy from birth. In the past few years he has written for 'Star Trek' Magazine as well as interviewed numerous comics writers, television producers and actors for the SFP-NOW podcast at: www.scifipulseradio.com When he is not writing for scifipulse.net Ian enjoys playing his guitar, studying music, watching movies and reading his comics. Ian is both the founder and owner of scifipulse.net You can contact ian at: ian@scifipulse.net
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