The Cinematic Soundscape of Dustin Lau
In the world of Heckler sound composer Dustin Lau, everything sings.
Speaking to LBB, Dustin serenades with his life's journey – born into a family where stories found their voice through music, from his grandfather's piano and accordion to a teenage infatuation with the electric guitar.
Yet, Dustin's trajectory into the realm of professional music composition took an unconventional route. A decade-long voyage as a touring musician paved the way for a fortuitous encounter with music licensing, ultimately guiding him toward his true calling - composing for films and ad campaigns.
Here, Dustin unravels the intricacies of his creative process and the art of collaboration and imparts invaluable wisdom to budding composers.
LBB> Have you always been musically oriented, even as a child?
Dustin> Yes, I had somewhat of a musical family. My Grandpa was an excellent self-taught musician and for as long as I can remember, he would sit at the piano to play and tell stories. He would bring out his accordion and mandolin, instruments that he brought back from Italy after WW2, which I now have in my studio today.
My mom was a piano teacher growing up. I tried to sit still and take lessons but could never focus on learning to read music or play correctly. So, I would just memorise songs by ear to perform at piano recitals. In high school, my dad bought me a flea-market electric guitar and I fell in love with writing my songs and playing in bands into college.
LBB> Can you tell us about your journey into music composition and how you got started in the industry?
Dustin> I was a touring musician for about 10 years and got to travel the world. On one recording, I brought in Adam, one of my best friends from high school, to record some guitar. We got to talking about what he’d been up to, making music for indie film projects and ads. He told me about music licensing and that filmmakers would pay to have your music in their films. I knew film composing was a profession, but I’d figured these people were maestros like John Williams or Hans Zimmer. This was a real turning point for me; I had a moment when I realised this was what I wanted to dedicate the next chapter of my life to. My friend Adam went on to score movies and TV shows like The Handmaid's Tale on Hulu and has been a constant encourager and mentor in my journey.
LBB> You've worked on a diverse range of projects, from scoring documentaries to ad spots for major brands. How do you approach composing for different mediums and genres?
Dustin> For me, it starts the same way, no matter the project. Capturing the story and trying to find an empathetic approach to it. In ad campaigns, the heart and story must be told in such a short amount of time. Hence, it's important to me to really get my head in there with the director and those who’ve been passionate about the project since they first started conceptualising the idea.
I want to hear the story they're trying to tell in their own words, the experiences they’ve had while on location, struggles, moments that brought out all the emotions, people they've met along the way, etc. There are just more details to the story than a two-minute ad spot.
LBB> "The Right to Race" premiered at Cannes and screened on TV across Europe with your original score. Can you share the creative process behind composing the music for this film and how it complemented the narrative?
Dustin> It was such a huge privilege to work on that film. This was my second collaboration with Hungry Man UK/Revolver Australia director Richard Bullock, the first being the film Black Ice.
I really love his approach to the story for film and his huge heart for the people whose lives he's getting to document. We talked about the music for this film being minimal. When I started getting some images and edits, I began writing themes on the piano. I was recording it with the mics super close to the piano strings, so you can hear the intimate details of the hammers hitting the felt and the fingers hitting the keys, which was minimal and percussive. That approach felt really good against the picture, almost bringing out the elegance of running and just the purity and joy Dominic Lobalu brings to his training and races.
However, I also wanted to find textures and instrumentation to bring awareness to his struggle and story as a refugee. For the end of the film, it was fun to change it and write a song to wrap up the story. The director really wanted this kind of classic old-school gospel song sound. So, I wrote a song and had a talented friend of mine, Carmina Garcia, sing it with tons of soul and grit.
LBB> When you're composing for a film or an ad, what are the key elements you consider to ensure your music aligns with the intended message?
Dustin> I need a really good understanding of the story. If I can get to know the story well, I can start to throw sounds and ideas at it with a good sense of whether the music is distracting from the narrative so as not to get in the way. That doesn't have to mean the music is plain or minimal, or else that would be distracting, too.
I’ve worked on some projects where the music is nuts and complex with tons of textures and experimentation, yet it fits with what's happening on screen and what may be going through a character's head. Or conversely, the director’s head with the story they're telling. With the endless number of options for instruments and sounds I could use for any given project, the story is everything. I can quickly start to eliminate what sounds and instruments I won't use once I can understand them.
LBB> How do you work with directors, producers, and other creative professionals to bring your musical vision to life in a project?
Dustin> I've relied on directors, producers, and editors to inform my decisions. Without their input, I have an endless number of options because music to picture can be so subjective. This is also something that I've had to learn over the last several years because, before film scoring, I produced music just for myself. In that sense, I've had to really learn to lean into other's ideas and thoughts about what the music should do. I can honestly say I'm constantly surprised at results after collaborations because of the ideas I wouldn't have had without them.
LBB> Are there any particular musical genres or styles that you find most inspiring or enjoy working with the most?
Dustin> Anything that is not normal or that I can experiment with. When I have the opportunity, I always try to make my own sampled instruments to play and incorporate into a project. Like sampling toys in a toyshop and processing it into weird sounds and textures that I can play with on a keyboard. Or sampling the human voice and turning it into a playable instrument.
I can get away with that in more narrative-based films like drama. I can explore space more and find fewer 'rules' to follow. Or more rules I can break.
LBB> As a composer, how do you stay inspired and keep your creative juices flowing, especially when working on multiple projects?
Dustin> By constantly listening, writing, and experimenting -- even if there isn’t a current project to work on. There is so much music to make and so many ways to approach making it, all it takes is to show up every day.
LBB> You've had the opportunity to work on projects with major brands like Adidas, Citibank, and New Balance. What unique challenges or opportunities arise when composing music for well-known brands?
Dustin> With every brand project, it's always a challenge to make sure to represent the brand. While collaborating, the constant communication about the brand's hope for a particular campaign is vital for me. Especially if they've had a successful run in the past with other ads in their series, it's got to hit harder than the last while maintaining the brand integrity.
When working on more significant brand content pieces, I find opportunities to hire other musicians to take projects to the next level. On Toyota and Audi, I had my friends Keith Tutt and Matthew O'Rane play the cello and violin. They are insanely good and wrote some parts that really blew my mind and had a lasting impression on the creatives at the brand agencies.
LBB> Finally, what advice do you have for aspiring composers and music producers who want to establish themselves in the industry?
Dustin> I would say everyone’s path will be completely different, so avoid getting stuck in the comparison trap. You’ve got to know that there is room at the table for you and your unique sound, so don’t be afraid to be completely different from what you’ve heard. I have that conversation with myself all the time.
Keep showing up and creating and learning. Music licensing is an excellent way to practice writing to see what sticks with film-makers. It gives you a focus on creating your sound and setting some goals. It could also be an excellent way to earn while learning how everything works.
