May 8th/12th/17th, 2001

A promo image we shot for HH press kit
(and one I've licensed to other people, in case you
see it on something else)
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May 8th

Evan emails me that he won an award, for best art director for some CD cover or something. I think he should be winning awards for his scores. Shit, if he gets his hands on a real orchestra, I think the sky’s the limit. I mean, the guy’s only 25 years old. Imagine him in another ten years.

May 12th

Evan wants to call me, says he’s got something for me to listen to. I tell him I’ll call him, to save him the phone bill(since we’re on opposite coasts). He says don’t worry about it.

So Rick and I are out recording foley sounds all night and we get to my house about midnight. I get Evan’s email, so I email my phone number to him.

A half-hour later I get a call. It’s Evan. He’s kind of soft-spoken, young, enthusiastic. Rick takes off as he sees it’s going to be a long conversation.

Bottom line, I ended up talking with him until about four-thirty in the morning. We chatted film, we chatted composers, we talked about a shitload of stuff. He seemed very cool. Very knowledgeable. Played me some small stuff to give me an idea of what he could do.

He’s got some awesome equipment. Of course, he seems to want to experiment with some weird sounds, when I just want some straight orchestra stuff. At one point he was debating whether to use a “haunting kazoo” as the backbone of the music. I tell him I don’t think that will work.

He says he’ll email me when he wants me to call him.

May 17th

I was flipping channels when I came across a movie with Rebecca DeMornay and Michael Rooker in it. I knew Evan had scored a movie with those two, so I figured what’s the chance they were in two movies together?

I checked the title of the movie and sure enough, it’s the one Evan scored. I watched a little of the movie, called A Table For One. Kind of boring, but not bad. The score was nice.

I tell Evan in an email I saw the movie on Showtime. He told me he didn’t like his score for that one much, as the director didn’t give him much leeway.