The Only Time We Have: Directed by Amy Enser 1. Discovery 2. Longing for Father 3. Memories of Biking 4. Shaving 5. Joining the Army 6. A Changed Man 7. Different Relationship 8. Closing Credits The Dinner Party: Directed by Douglass Anthony Brown 9. A Very Fine Feast 10. Frat Celebration 11. Horror Reveal 12. Shocking Credits 13. Trepidation Cinema Chimaera: Directed by Mick Flaaen 14. Complete Cue Super Wonder: Directed by Kevin Owyang 15. Getting Ready 16. The Fake Choke 17. Serving Food 18. Expectorant is Administered 19. The Wrong Laundry 20. Under The Table 21. She Takes Charge 22. Out The Door Closing Credits 23. Dry Attack for Large Orchestra Sin City: Directed by Brett Morris 24. Beginning Credits 25. Chase Music 26. Outside in the Wind 27. Abusing the Girl 28. Resolve 29. End Credits Redneck Assassin: (Video Game) Directed by Clay Hayes 30. Cinematic Fight Music 31. State of Play 32. Worry 33. High Intensity Dominance: Directed by Roger Evans (unreleased) 34. Complete Contemporary Version 35. Two Women Enter End of Earth: Directed by Roger Evans (unreleased) 36. Theme 37. Biotech Advertisement 38. First Episode First section 39. First Episode Second Section 40. Second Episode Cello Ensemble 41. Bluegrass Waltz 42. Pizz Blues VR Lab Gameplay Music: 43. Velvet Smoking Jacket 44. Spooky Looky Polar Bear Country 45. Theme 46. Gameplay Close To Her: Directed by David Kim 47. Opening Credits 48. Closing Credits All Music Composed and Produced by Bradley Hawkins at Dialekt Recordings. Bradley Hawkins is a Cellist and Composer living in Seattle, USA. He has composed music for stage, screen, video games, commercials, dance, and diverse ensembles from orchestras and choirs to avant-garde ensembles and rock bands. He has performed as soloist, in orchestras, rock groups, and many chamber ensembles including serving as founding member and Artistic Director of the Seattle New Music Ensemble. He taught cello and bass at Seattle University and at Lakeside School and has an active mentoring and teaching life. Performers: 1-8 Selina Gresso Oboe, Steve Creswell Viola, Justin Hansen Piano 30-33 Ian Sheridan Bass Guitar Program Notes: “The Only Time We Have” was directed by Amy Enser and was commissioned by the Seattle International Film Festival in 2013. The film premiered in May of 2013 at the Egyptian Theater, Seattle Washington. The score was written and recorded over a 3 day period in April, 2013. The score was recorded at Clatter & Din, Peter Barnes, Artistic Lead. The music was designed around one musical theme that is placed in related but diverse musical settings. Continuity was of paramount importance as the whole story is told as a flashback from one point of view, that of a father remembering times past. “The Dinner Party” was directed by Douglass Anthony Brown and was composed on October 12th-13th 2013 as part of that year’s 48 hour film festival in Seattle, Washington. Movie requirements included the use of a pineapple, the theme of “cannibalism”, and the use of the name “Pinkerton”. The score called for a Shostakovich inspired opening, like all good 70’s era horror movies, a dance party, the horror underscore, and an intense Dubstep credits scroll. Those four musical styles are represented here. The idea to have so many divergent styles is based upon the current style of song placement and music editors having an ear toward the merchandising needs of media conglomerates. Having just one composer do these many styles presented a very special musical challenge. “Trepidation” is an artistic exercise in using Izotope IRIS. Written in Spring, 2014 “Cinema Chimaera” was directed by Mick Flaaen and enjoyed a longer performance period because production of the music had to take place during production, and then was finished during the typical post production period. The director wanted to have music played by a person on the screen and then also have that performance interwoven into the underscore. Additionally, the stylistic direction of using early film footage and focusing on the art of film pushed the music to the late silent/early talky period (1920’s-30’s). A piece was composed for the filming, performed on camera with the composer as performer, and then after the film was edited together, the score was composed to fit the edit with the theme following the notes performed on the screen. And that’s how movie musicals and musical performances on film are generally created. The movie was finished in February 2016. “Super Wonder” was directed by Kevin Owyang and was composed in the fall of 2015. The plan for the movie was for a superhero film replete with heavy brass and large virtual orchestra. After placing the music in, the creative team realized that that the movie required completely different musical forces so a new score was composed from the point of view of the main character’s mother. Suddenly, plucked strings and marimba seemed like the perfect choice as well as an 80’s inspired pop song for the credits. “Dry Attack” is a virtual orchestra piece underscoring a post apocalyptic hellscape where more advanced broken technology is peppered with proto druidic religious practices. Yes, that. It was composed in January, 2015. “Sin City” was directed by Brett Morris and was produced in the winter of 2002. The filming took place at Fisherman’s Terminal in Seattle and filters were used in the post production to emulate the dark, noir inspired graphic novel series of the same name. Access to a piano that could be prepared by placing coins, nails, and paper clips into the strings for varying effects and percussion sounds, coupled with extended techniques on the cello make for a very dark score. “Redneck Assassin” is an iOS/Surface platform game developed by Clay Hayes, President, Bloodshot Games. The score was composed in September of 2013. The artistic requirements for this game was for an adaptive score that would change with the game play and would draw from ZZ Top and Primus with a touch of Survivor for good measure. “Dominance” and “End Of Earth” Directed by Roger Evans. 2014-15. These web series are set in futuristic Seattle and feature themes of healthcare problems and worker rights where the class system is even more stratified than it is now. “Blues Cello” and “Cello Waltz” were composed and recorded in 1999 as part of a renaissance in folk and bluegrass genres. Cellos are amazing. “VR Velvet Smoking Jacket” and “VR Spooky Looky” were both composed in February 2016 as part of a Virtual Reality Hackathon held at the HIT LAB Seattle Washington. “Velvet” needed to have some fun music coming out of a boom box and needed to be more than a little chincy. “Spooky Looky” needed to be more environmental and underscore a dark cemetery. “Polar Bear Country” A score that was thrown out. Never the less, polar bears probably listen to country music. July, 2015. “Close to Her” Directed by David Kim. A psychological thriller set among a group of Korean students. Recorded at Seattle University and mastered at Dialekt Recordings, November 2002.