The rabbit-hole went really deep on Infinity Chamber.  I’d been speaking with director Travis Milloy for a few years about this particular project.  So there were a lot of ideas swirling around my head before I even starting scoring to picture. 

As the film begins you hear the opening notes of Bach’s ‘Passacaglia & Fugue in C Minor’.  It quickly dissolves into an uncomfortable tension swell and we join the main character as he wakes in a computer controlled prison. 

From that point on every piece of music that is played by the A.I. prison system, or any music heard as ‘source’ is entirely derived from Bach’s Fugue.  We created piano versions, jazz versions, guitar performances, gas station Muzak, Bossa nova arrangements.  Most people it will go unnoticed but we believe that the audience will subconsciously start to feel the claustrophobia of it as the film progresses. 

The actual score transforms from electric to acoustic as the story unfolds.  There are several arcs as we learn about the world, Frank’s many attempts to escape, his relationship with Gabby and his relationship with Howard. 

The center of the film balances on a piece called ‘Dream World’ which meshes analog synths with acoustic piano and strings.  Through a montage sequence we see Frank’s relationship with Gabby grow and get an idea of the size and scope of his day-to-day existence both in the prison chamber and the dream world.  The balance of synthetic & acoustic elements gradually changes from the point on and, during the final escape sequence we hear, for the first time, a truly acoustic string ensemble.