Narrative & Drama
Narrative & drama scores
Scores for feature and short drama — from wartime tragedy and coastal thrillers to cult horror-comedy and art-house unease.
A run of narrative films across two decades, features and shorts alike. The tone shifts hard from one to the next — grief, dread, satire, tenderness — and each asked the score for something different, from a live orchestra to the smallest possible gesture.
Brandan Haskell · 2018
Saved by Grace
An eleven-minute drama following a paratrooper trapped behind enemy lines and the woman he’s fighting to get home to. It won Best Score at the Virgin Spring Cinefest — a compact story of love and endurance that gave the music room to carry the distance between them.
Damien Puckler · 2010
Universal Senses
Set in wartime Iraq, two soldiers on the same side are imprisoned together before execution as an act of psychological cruelty. It’s an intimate, tragic film, and I scored it that way — desert light, guilt, and the silence before the end rather than any battlefield.
Ladd Ehlinger Jr. · 2009
Hive Mind
Ladd Ehlinger’s live-action follow-up to Flatland: a near-future satire in which a brain implant collapses individuality into a single corporate consciousness, and one stubborn talk-radio host holds out. The score leans into its blunt dystopian streak — harsh, paranoid, and broadcast-worn.
Joan Beveridge · 2009
Storm
A drama set on the Cornish coast, where an idyllic landscape hides a relationship marked by coercive control. I recorded a live ensemble for it, with violinist Oliver Lewis and saxophonist Hannah Marcinowicz, letting the coastline’s beauty and its undertow sit inside the same music.
Maxim Matthew · 2008
Urban Scumbags vs. Countryside Zombies Reanimated
A cult German horror-comedy, shot on Super 8 by punks and students after reunification and rebuilt in 2008 with a 5.1 mix and an official score. The music matches the film’s anarchic, hand-made energy — louder and rougher than anything else here, and unashamed of it.
Lucy Brooks · 2006
Inside
A short about a young woman alone at night, and the uncertain space between real danger and imagined terror as ordinary house-sounds turn strange. The score works in that ambiguity — never naming a threat, only letting the dark do its work.
Simon Cathcart · 2002
Black Velvet
Two oil executives helicopter into Ireland certain they can buy a stretch of coast, not realising the man with the real power is the overlooked “barfly” in the local pub. I scored the Atlantic weather and the quiet reversal working beneath the corporate certainty.
Birthe Templin · 2002
Lübbos Frau wartet
A German short about a chance meeting on a bus between an old man carrying flowers and an excited child — a quiet, tender piece about love remembered, that leads you toward one expectation before turning somewhere gentler.
Damien & Bjorn Puckler · 1999
Panchreston
An art-house feature on the darker corners of desire — temptation, secrecy, and unease rather than spectacle, set in the grit of 1990s city life. I recorded a live orchestra for it, scoring the mood rather than the moment.
