"Coming Home" genre: Film Music
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	A touching piece. Two-minute score for a dramatic short, designed to be the title sequence for a full-length feature. Influenced by James Horner's "Apollo 13" and "Glory". Orchestral synth.
	Story Behind the Song This is the score for one of Doug Conant's film school projects. It is a two-minute short, designed to be the title sequence for a hypothetical full-length feature entitled "The Company". The sequence revolves around a former black-ops government agent finally returning home to his wife after years of active duty overseas. Originally, Doug had planned to use a track from the score of Apollo 13 which was almost perfect except for the possibility that the theme would be recognized. I offered to write something original for him instead, not only to avoid the problematic theme but also as a challenge to myself, since I had never written a piece in such a dramatic mood before. At first I wasn't sure I could get it done. I had only a few days to get it in the can, and it wasn't the only thing I had to at the time. Not only that, but I also wasn't able to write to picture as I had in the past, because most of the film had not yet been shot. I was very glad that Apollo 13 was available as a backup plan in case it didn't work out. Fortunately, since Doug had the standby track so firmly in mind while he was shooting and editing, I was able to use it as a guide to help me match the general movement of the story without having to actually see it. The only other issue was speed... but it turned out not to be a problem after all. I started writing on Monday night and finished Wednesday afternoon, suprising even myself by finishing the piece in less than 2 days. Originally, the music was supposed to be the only sound in the film, which of course was pleasing to me. But the production was plagued with problems and Doug was forced to dub in a fragment of a radio news broadcast in order to properly complete the exposition. (Incidentally, I wrote and voiced the news report.) As usual, this piece was written in Cakewalk Pro Audio 9 and synthesized in a single pass by my Sound Blaster Live Platinum, using various public domain soundfonts. It was completed on August 14, 2002, and the final mix was recorded the next day. (Note: this mix of the piece is not exactly the same as the original one used in the film. Some minor volume and phrasing tweaks were made the next day based on Doug's feedback.)

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