composer Anthony Eve represented by UK Film and Music
Anthony Eve
Anthony Eve is a composer based in Belfast, Northern Ireland. While mostly in demand for film and television scores, Anthony also writes for theatre as well as solo endeavours, including Fuga recorded with the Budapest Art Orchestra and his latest EP Baile recorded with the Ulster Orchestra is due for imminent release.
Anthony navigates between traditional orchestration and analog electronics to create new hybrid musical forms. His work in the OSCAR, BAFTA and IFTA winning film An Irish Goodbye saw the use of traditional Celtic folk and electro-acoustic music using detuned banjos and mandolins to create a new unique sound world in which the film took place. Take a listen below!
His work in the short film Roy starring BAFTA and Olivier Award winner David Bradley was a hybrid of traditional orchestration combined with analog synth and electro-acoustic sound design using glass harp and an open upright piano. For the upcoming BBC short film Measure of a Man starring Jenn Murray and Caolán Fisher, Anthony this time strayed from any hybrid influence writing a classical score for quartet, piano and harp. Also starring Caolán Fisher, the multi award winning Pike is a perfect example of Anthony’s bespoke world building, fusing contemporary string orchestration, analog synth and Celtic flute and harp, to create a unique world within the film.
Anthony has written for multiple BBC productions, including Holby City, St Mungo’s and currently scores the BBC/Britbox long-running television series Hope Street for Long Story TV starring Niall Wright and Tara Lynne O’Neil. Anthony is masterful in introducing an authentic Irish ’nod’ to his compositions whatever the genre and whatever the format.
Anthony Eve's "An Irish Goodbye"
More from Anthony..
Why hire a composer to produce your score.
All film makers, directors and game producers want really good music for their story and content, and can choose from getting stock music or hiring a composer.
A lot of filmmakers will choose the former simply because they find it easier and cheaper than dealing with a composer. After all, a composer usually will cost you anywhere from 5% – 10% of your budget. But there are some really strong reasons why you should hire a composer instead.
The music will fit your story.
You’ve gone through the agonising process of making sure every little detail has been followed. All of the late nights deliberating over the script, coaching the actors, and ensuring your DP has every shot planned and executed to run how you planned it.
Music is just as important.
There have been great movies that just fell flat because the music just wasn’t good. Likewise, there have been some okay films that got a significant boost by having a great score.
A consistent and professional score applied to your scenes is transformative, and only adds to your story. Not to mention, its’ feel and design is more tailored for your vision.
The composer is your confidant and shares your vision.
As a filmmaker, the composer is one of the first few people that you will share your vision with.
A good composer will give you feedback on your story that you can’t get anywhere else, not just with music ideas, but ideas on your film as a whole. The synergy between a composer and a director is unmatched. As a filmmaker you have to interact with a lot of people. But composers generally care more about the director’s vision and the one on one relationship and bond created between the two.
Composers impress a special character and emotion for the film.
Point of view is so important with film scores and scenes. Good composers are always interested in this angle. How the music plays out in a scene, can be carried in so many different ways. If you have a scene where a victim is being strangled by a murderer, the point of view really dictates the music. If the point of view is the victim’s, then fright and shock could be applicable. Conversely, if the point of view is the murderer, then the music might display power and awe. In addition, composers will offer contrasting point of views for you to think about. Maybe there wasn’t something you were thinking about when you made the film. Also, composers are interested in motifs and things that might hold scenes together. This is a more difficult concept to grasp at times, but once embraced can make your film even more professional and enjoyable to watch.
You don’t have to research or jump through hoops legally.
When you work with a composer, you will either have the full rights to a score, or a master license agreement. Either way, you know up front exactly what your options are as far as using the music.
Most composers will give filmmakers broad and open rights to use the music created in any way they see fit. And if it’s a work for hire, of course you own the rights to the music outright. If and when the time comes that you want to strike a deal with someone for your film, you know full well the music in your film can be used anywhere.
Finally, Composers become part of your team.
Sometimes establishing trust and communication can be difficult. But once established, it is something that you can rely on going forward. With each step you take as a filmmaker, you know that composer is with you. And the composers’ main goal is to help you tell that story in the most special way that it can be told. The composer is someone who shares your vision, and ultimately wants to give you something they feel is special and unique just for you.