When Cartoon Network’s legendary, genre-disrupting series The Powerpuff Girls marked its 20-year anniversary, its creative team knew they needed something special. Along with Musicbed Custom Music artists Emily Kopp and Justin Beckler (a.k.a Midnight Riot), they created an original piece of music to celebrate the special event alongside an art initiative featuring work from female animators around the world.
If you want to hear Zane Callister and Jared Logan’s influences, just listen to their music. It’s incredibly simple and infinitely effective in the sense that it immerses you in their world. And, on a second listen, inspirations start to come through — diverse ranges of electronic, jazz, experimental, rock, and more. The magic trick they’ve pulled is to take two very different minds and put them together, not just to make something new, but make something that couldn’t exist without this creative reaction.
Composer Joshua Crispin’s story is a unique one in the music industry. Instead of spending decades “finding himself” and edging his way into a place of prominence, he cut straight to the chase. He knew what he wanted and, well, he did it. Of course, it helps to be a genius in the studio with a knack for drawing audiences into a story but we think there’s a bigger takeaway from this artist. His mindset is a case study in focus on a few different levels.
It used to be that music discovery happened between people. Friends would recommend new songs, DJs would play new bands, music writers would review new albums. And then, if something interested us enough, we’d go buy it. We’d listen to it. Over and over again. And if we fell in love with it, we’d recommend it to others. That’s how it went for a long time. Music discovery was this intentional, symbiotic relationship between music lovers and the music they loved.
It may have started as a film school assignment, but the short film AWAY quickly became a film school in itself for Zach Zombek (a.k.a. Convolv). Over the course of its three-year production, the demands of the film forced Zach to master everything from cinematography to visual effects to scoring. “That’s one reason we kept the team so small,” Zach told us. “It forced me to learn these things instead of having someone else do them for me.”
Everybody wants to be Salomon Ligthelm — except Salomon Ligthelm. After years of being Vimeo’s darling and a poster child for crowdfunded passion projects, Salomon has left all of that behind in search of a more fundamental form of filmmaking. Filmmaking based on characters. Actors. Human experience. We talked to Salomon after he’d been living in New York for eight months. He was still very much transitioning from who he was to who he is becoming. It’s an uncomfortable place to be, as you’ll see from our conversation.
As we get closer to the end of the first Musicbed Film Fest, we’ve been thinking a lot about the relationship between filmmakers and musicians, and why that relationship matters not just creatively but culturally.