T H E   G R E A T E S T   M O M E N T . . .   / /   T U I   S T U D I O S   ( 2 : 4 7 )

I credit myself here differently to the end credits, which state a grander Music / SFX. Actually, I didn't originate a lot of the main music on this, instead mostly arranging and building on another's work.

When animator Jonathan Dower initially approached me about scoring this film, I gave him a draft of the style he seemed to be describing for the main music, and then – surprisingly to both of us – he didn't like it. I went back and retried, but again it seemed I was just not getting what he wanted. It was funny to us as we'd worked together musically for years, and thought this would be a slam-dunk.

Knowing he was busy with the animation, but also aware of the fact he's a great musician, I asked could he maybe roughly mock something up, to give me an idea and reference for what he's after?

He kindly did so that night after animating all day, and when I listened to the handful of short sections he'd done, I straight up just thought they were fantastic. I'd never have thought of them, and I loved that about them. He vibed with what he'd done too of course, but I recall I had to encourage him that his references could actually be good enough to work with in the final film. I ended up building the whole score around them, repeating and embellishing those draft segments he'd done, mainly adding joins between them or a little extra instrumentation here and there, for variety or sync.

The sound effects and humourous musical stabs were my work – but the shape of the melody, the bulk of the bassy riffs, and most beats were his. I suggested he should have the music credit, or at least share it. But, he didn't want any of it. I remember him saying, adamantly: "No, you're the music guy!"