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SCARY MOVIE was excellent. I saw it in the theater. It was packed. People were laughing, quoting the movie. You have been the composer of so many incredible films including THE ICEMAN. How did you get involved with the new SCARY MOVIE film?
First of all, thank you! Hearing that you saw it with a packed audience laughing and quoting the movie is incredibly rewarding. That’s exactly the kind of experience we were hoping to create.
I first met director Michael Tiddes several years ago while working on Half Baked: Totally High. We clicked creatively right away and stayed in touch after that project. When Scary Movie came along, Michael invited me back, which was a huge honor. I had to pitch my ideas for the score, but I think having that existing trust and creative relationship definitely helped.
As a lifelong fan of the original Scary Moviefilms, getting the opportunity to contribute to the franchise was a dream come true.
What was the process like? How do you decide what music goes with what scene? Were you able to see the film first?
Absolutely. By the time I started writing, I had already seen the film several times. One of the first things I do is identify what each scene is referencing and what kind of musical language that world requires. Since Scary Movie is built around parody, every sequence almost becomes its own mini film. One moment you’re scoring a psychological horror movie, the next you’re in an action film or a supernatural thriller.
The fun was figuring out how to capture the DNA of those genres without simply copying them. The goal was for audiences to instantly recognize the musical world we were referencing while still giving Scary Movie its own identity.
The process was also very collaborative. Michael Tiddes and I would go through the film scene by scene, experimenting with different ideas and making adjustments as the edit continued to evolve. New jokes were added, scenes changed, and the music had to stay flexible all the way through the final mix. It made for a very dynamic process, but I think that’s part of what gives the film its energy.
What was it like working with the incredible Wayans Brothers, and what did you take away from this process?
It was an incredible experience. I worked most closely with Marlon Wayans, and what impressed me most was how much he genuinely cares about every aspect of the filmmaking process, including the music. He has a deep appreciation for film scores and understands how much they contribute to the storytelling and the comedy.
I also knew how important it was for him to bring Scary Movie back with the same spirit that made the original films so successful. That passion was contagious, and it made everyone involved want to give the project their very best.
What words of wisdom or advice would you offer to people who want to work in the industry as a composer?
My biggest piece of advice is to become a storyteller first and a composer second. Great film music isn’t just about writing beautiful melodies. It’s about understanding character, emotion, pacing, editing, and why a scene works in the first place.
I’d also say be patient. This career is a marathon, not a sprint. Keep writing, keep learning, collaborate with as many filmmakers as you can, and don’t be afraid to start small. Every project teaches you something, and you never know which opportunity will open the next door.
Is there a huge difference with the genres? Actors often say comedy can be a little more difficult. Does it feel that way composing something dramatic versus having to compose something for comedy or horror?
Every genre presents a different challenge. Horror asks you to create fear and tension. Drama asks you to move people emotionally. Comedy is unique because your timing has to be incredibly precise. Sometimes the funniest thing you can do is play a scene completely seriously, and other times you need to subtly remind the audience that they’re in on the joke.
With Scary Movie, the challenge was constantly finding that balance. We wanted the music to feel like it belonged in a real thriller or horror film while still serving the comedy. That’s a surprisingly delicate line to walk, but it’s also what made the project so much fun.
Did anyone inspire you growing up?
Absolutely. Like so many composers, I grew up listening to John Williams, Danny Elfman, Alan Silvestri, Jerry Goldsmith, and many others. Their music sparked my imagination and made me realize that music could tell stories just as powerfully as dialogue or visuals.
Growing up in Israel also exposed me to a wide range of musical traditions, and I think that combination of classical film scores and diverse cultural influences helped shape my own musical voice.
What are you working on next?
I’m fortunate to have a few exciting projects in development, including one that I’m currently scoring that I can’t talk about just yet, but I’m very excited to share when the time is right.
More than anything, I’m looking forward to continuing to challenge myself with new stories and new genres. Every project teaches me something different, and that’s one of the things I love most about this career. Right now, I’m incredibly grateful for everything that’s happened with Scary Movie, and I’m excited to see where the next chapter leads.
