The first time I realized how powerful music could be in a film was while watching The Truman Show. Philip Glass’s score completely changed the way I saw storytelling. It showed me how music could carry emotion in a way nothing else could.

I started playing piano at the age of three. My parents signed me up for lessons, and I never stopped. I trained classically and fell in love with composers like Rachmaninoff and Holst. Over time, I was drawn to film scoring where I could blend my love of music with my love of story.

Right now, I work as an actuary by day and compose on nights and weekends. It is a bit of a double life, but I find that the discipline, organization, and professionalism I bring from my corporate work make me a stronger and more reliable creative partner.

My writing always starts at the piano. That is where the ideas first take shape. I think of film scoring like a puzzle, except there are endless right answers. For me, the challenge is finding the one that makes the audience feel something. Because if they do not feel it, then the music is not doing its job.

I love writing emotional, character-driven music, especially for love scenes where the score helps the audience connect to what the characters are going through. I also just love music that moves you, that stays with you long after the scene ends.

For me, composing is not just about creating music, it’s about making sure that every note serves the story, leaving a lasting impact on both the film and the audience.