Emmy award-winning composer Yoav Goren, is the president of Immediate Music
, the world’s most successful trailer music library servicing all major motion picture studios and television networks worldwide.
Widely recognized for nearly 20 years as Hollywood’s pre-eminent producer of original music for motion picture trailers, Immediate Music continues to innovate the genre of epic trailer music with the release of “Trailerhead: Triumph”, the third & final chapter in the “Trailerhead” series of trailer music albums available through Imperativa Records. “Trailerhead: Triumph” is the most robust collection of the acclaimed trailer music album series, with over twenty tracks of anthemic, cinematic music that has been featured in many of today’s biggest blockbuster trailers including The Hobbit, Harry Potter, Twilight, Assassin’s Creed, Pirates of the Caribbean, The Chronicles of Narnia and many more. “Trailerhead: Triumph” was released on CD at retail including Amazon, Barnes & Noble, Best Buy and Walmart on October 30th, and for digital download from Amazon MP3, iTunes and other digital music stores on November 6th.
Yoav Green welcomed questions from TrailerMusicVibe and I am pleased to present to you now the following interview.
For more information on the artist Immediate Music and Imperativa Records, visit www.imperativarecords.com and become a fan on on Facebook.
TMV: How did you become a composer?
If we are talking about “how did I become a professionalcomposer (i.e. making a living specifically out of writing music), then those roots lie in the early part of the 1990’s after I had recently relocated to Los Angeles from my hometown of New York City. The bitter winters and more challenging quality of life issues in New York led me to seek a new adventure on the west coast. Though not really thinking about composing at that time, being in LA meant meeting a lot of people who were in the entertainment business. One of those people I met was Jeffrey Fayman, a musician who had done some composing for a few “B Movie” trailers in the late ‘80s. Jeff and I spoke the same cinematic music language; we collaborated to write thematic tracks, and through Jeff’s small network of editors, contacted some folks who were working in trailers in order to land some custom composing work. We had compiled a demo tape we thought was brilliant, but no one in town returned our calls. At a breakfast meeting with a film producer regarding possible scoring work, I was recommended to contact a trailer house in LA to speak to the owner who was a friend of this producer. The owner took a chance, hired us to compose original music for a trailer, and from then on a new and unplanned career as “composer” was born for me.
TMV: What is your favorite aspect of composing a trailer music cue?
I love Epic Orchestral music, and writing for trailers is the only medium where there are no obstacles placed on my imagination, creativity, and desire to create massive and highly emotional music. This is more than a favorite aspect – it is the overwhelming driving force comprising my artistic identity.
TMV: How did Jeffrey Fayman and yourself join forces to create Immediate Music?
Jeff and I met in a music store. I was employed at the time as a salesperson for pianos, synthesizers and music software. I was also very stoked about MIDI and using computers to assist in the creative process of composing and producing music, and had many clients whom I consulted on this technology aspect, everyone from studios to private students. I was instructing on various sequencers and hardware synthesizers and samplers. Jeff became one of my students (after he wrangled a 20% discount for my services J), and through those series of lessons at his home studio, we became good friends and discovered our mutual passion for motion picture soundtracks. We started composing together and wanted to take a shot at submitting ourselves for film scoring work. We thought that we may gain an advantage into this industry by scoring trailers and commercials first, using this experience as a stepping stone into the more respected field of film scoring. The very first job we got was the trailer for the 1993 broadcast of the Academy Awards, which featured a montage of the nominated films. After that successful job, we were able to present ourselves as “trailer composers” and got the attention of several of the trailer houses and movie studios in Hollywood. We then created Immediate Music as both a custom music house as well as specialized music library specifically producing pre-created music for motion picture marketing of all kinds.
|Official cover art
TMV: The Trailerhead Series from Immediate Music has been immensly successful from the beginning. As the last entry, Triumph rounds out this collection, describe the feeling that you had once the official wraps had been completed on the new album.
More than anything, relief was the dominant feeling upon the completion of TRAILERHEAD: TRIUMPH. I had put a lot of pressure on myself to not only match the substance and quality of the Trailerhead albums to date, but to step it up a notch further with the finale in the series. I listened to the first two albums and tried to discern (from both my perspective and a fan of the music) what would make a robust and completely overwhelming experience on TRIUMPH. It was a struggle for a few months to just make the track selections. By combining some pieces that inspired me, tracks that were requested by the fans, and throwing in a few new compositions, I was finally satisfied with the content. Then I went for size. I wanted to fill a CD’s worth of material, and at 23 tracks and more than 75 minutes, TRIUMPH has 50% more music than the first two Trailerheads. Having an epic release was more than about the style of music, but about a larger-than-life immersion into the world of trailer music as I see it. It was also important to have newer tracks not yet heard in trailers, and the inclusion of two bonus remix tracks on the CD also points to a potentially different approach to trailer music in the future. It was important for TRIUMPH to be reflective of the legacy as well as contemporary nature of trailer music.
After a few days and several listens to the final mastered TRIUMPH, I will say I felt a sense of pride in the completion of a journey that started twenty years ago and is well represented musically on TRAILERHEAD: TRIUMPH, as well as the entirety of the Trailerhead series.
TMV: What are you looking forward to most for trailer music?
I’m as excited today about the future of trailer music as I was twenty years ago. We are fortunate that music for trailers still se
rves to elevate the subject of film to a ‘bigger-than-life’ status. But the word “epic” to me means more than just music composed for orchestra and choir. Electronics in trailer music are very important, and we at Immediate feel we have recently contributed to this sensibility with a collection of unique electronic trailer compositions named “Violations”. Personally, I am looking forward to continue to creatively explore what is “epic” music through the use of innovative new custom sounds and music styles, merged with an ever-present strong sense of melody and the use of traditional orchestration. I hope I am further blessed with the good fortune to continue creating this kind of music for years to come.
Many thanks to Mr. Goren and Immediate Music!