Personal stories of inspiration from professional composers, songwriters and musicians.
In this episode, Gareth chats with Jason Brandt about his new movie Camp Hideout, always being curious and listening to music on his paper round.
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Host: Gareth Davies
Produced by The Sound Boutique
Welcome to the music room.
At this time in the music room.
Jason: I don't know if you remember a
movie called interview with a vampire.
It had Ellie Goldenfall.
It was a score by him.
I heard that music and Before
that, I thought, oh, maybe I
can figure this out on my own.
That was the score that made me go, I
don't, I don't know what he's doing.
Hello and welcome to The Music
Room, the show where I chat with
composers, songwriters and musicians
about their formative years.
We're getting stuck into
the autumn, aren't we?
Suddenly a bit cooler in the evening.
Change the duvet yet?
Put the heating on yet?
Autumn is a good time to get stuck
into creative projects, isn't it?
What are you involved with currently?
You can let me know via the links
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join the Music Room Community Group
on Facebook and tell us there.
In this episode, you're going to hear
from LA based composer Jason Brandt
who recently had a movie released on
Netflix, and we chatted about that as
well as how he got started in music.
He also left a very cool retro
item and some brilliant advice.
Listen on to find out more.
But first, music stories.
music room Guest, Ian Arbor has
added his magic to movie Boen
Shoes, starring Timothy Spa.
And Liam Best, a are siblings who
are obsessed with the late Mark
Nolan and the music of T-Rex.
The writer director of Once, 2007, BeginAgain,:
Sing Street, 2016, John Carney is back
with Flora and Son, a consistently
enjoyable, music infused, character
driven comedy set in his native Dublin.
The movie's original songs were co
written by Carney and Music Room guest
Gary Clark, You can watch that right now
on Apple TV And that's Music Stories.
Jason Brandt is a US based composer who
recently composed music for the film Camp
Hideout, starring Christopher Lloyd and
Corbyn Blue, for Roadside Attractions.
Jason also scored the award winning
film Max Winslow and the House
of Secrets, starring Chad Michael
Murray, Freddy, starring Kelly
Who, and Christmas Wonderland.
Other films include Night of the
Living Dead 3D, starring Sid Haig,
and documentary That Guy Dick Miller.
Jason also creates original music for a
wide range of national TV programming,
including Cartoon Network's Teen
Titans Go and Mike Tyson Mysteries.
Ready to catch up with Jason?
Here we go.
Gareth: Jason Brandt.
Welcome to the music room.
Jason: Thank you for having me
Gareth: You are very, very welcome.
You're all the way over in Burbank.
Is that right?
Jason: is correct.
Gareth: And I see a
lovely room behind you.
Uh, many guitars.
I can see at least three there.
Jason: You can see some
Gareth: Oh, wow.
Some synthy goodness as well.
Gareth: like, you like your
guitars and analog hardware.
It is clear from first
glance at your studio.
Jason: There's a whole
bunch of stuff there.
I think I got a camper and way too
many Mac minis to go with everything.
Gareth: That's amazing.
So what have you had going on today?
Jason: Well, uh, today I'm
getting to talk to you.
I'm writing music for a
couple of different shows.
Teen Titans Go is one, as well as TMZ.
Uh, and then I have a movie that I'm
working on, uh, that's coming up, uh, to
be announced and, uh, things are good.
Uh, I want to ask you about
Titans Go, uh, in a little bit.
Um, but you, you also have a new
film out, Camp Hideout, don't you?
Jason: It comes out this
Friday, September 15th.
Gareth: how did that come about?
And can you tell us a bit about
your working process for that?
Uh, I got on this film, we
finished it about a year ago.
It's taken a little while
to get to this point.
But, uh, I got hired at the
beginning of last year and, uh,
it's an old friend of mine a college
friend named Sean Robert Olson.
We went to the University
of Arizona back in the day.
And we've been friends forever.
He's a four time Emmy
award winning editor.
And he also does lots of directing.
And we've done maybe about 10
feature films, a ton of short films,
and a ton of TV shows together.
But the last three films, Freddy,
Max Winslow and the House of Secrets,
and now this one, Camp Hideout, is
probably my three favorite of them all.
And the It took a little while to get
hired onto it because, you know, when you
go from one, uh, group of producers to the
next, to the next, uh, it's almost like
starting a brand new business every time.
So, you know, you're hiring new
people, getting all the financing
in place and, uh, but all the
producers have been fantastic.
I absolutely love them.
Uh, the process started with, uh, Sean
first, you know, after he shot the
movie, uh, he edited it and then he
showed me a work print and, uh, we just
discussed things, had a certain direction.
Uh, there was a temp track that was.
A little more orchestral at the time,
uh, but then As time went on, we started
to realize we wanted it to be a little
more specific to what the film is.
It's a camp movie, it's a kid's film,
and it's got Christopher Lloyd in it.
And we grew up with him because
of Back to the Future, and Adam's
Family, and a bunch of other movies.
And so we thought it would be more fun
to just, you know, every time you go
camping, you know, there's always someone
with an acoustic guitar, and there's some
whistling, and some singing, and snapping,
and clapping, and all that stuff.
So all that's incorporated in
there, plus an orchestra, and
plus all these other things.
You know, when you get to...
to the emotional scenes.
So, uh, the way I approached this
specific one, uh, the main character's
name is Noah and he's a foster kid who
is, uh, running away from two bad guys.
are two guys that hire him to steal
something and then that heist goes wrong.
And so now he's hiding
in a camp away from them.
And so he thinks he's cool.
And he thinks he's a certain kind of guy.
So a lot of funk music, kind of edgy,
uh, spy music from time to time.
That's kind of the soundtrack in his head.
That's kind of how I approach that.
And then, uh, you'll, a lot of people
have mentioned kind of like Home
Alone vibes and stuff like that.
So you'll notice that the two, uh,
two bad guys who are, you know,
playful and fun their own way.
Uh, this is definitely a family film.
The music kind of follows
their journey as well.
And then when you meet Falco, which
is the, Christopher Lloyd character.
I mean, he creates an amazing character.
He's as legendary now as he was back then.
And I got to write very
cool themes for him.
He's kind of, he starts off
as the dark brooding guy.
And, uh, I just, each one of these
characters has their own theme.
The camp has a theme, uh, as does,
you know, these are all lyrical.
They're more melodic, which is
nice because, you know, as time
has progressed, you know, it's not.
A lot of movies want to be more neutral,
and they want to have more ambient
pulse, or those kind of things, or
just let the drums push it forward.
But in this case, it's vibrant.
I mean, I'm using at least three or
four different guitars for different
themes, and then different ideas.
It's got a huge palette,
so you're not bored.
Jason: I wasn't.
And, uh, it just moves.
It's a good, fun film.
And you'll recognize
this kind of fun vibe,
Jason: know, we've seen many times.
Gareth: you mentioned home alone.
That's what I got from
the trailer actually was,
Jason: Yeah, I feel like they were going
for that, uh, which is not a bad thing
to do because that's a fun kids film and
we're trying to reach parents as well.
You have something like home alone
with Christopher Lloyd as well.
what's not to like, it's just
looks like tremendous fun.
Jason: it was.
Gareth: Well, best of luck with the
release and uh, I hope it all goes well.
so mentioned before recording
that, you're a proud dad to
a seven and a nine year old.
And, uh, I was wondering about
your variety of work from kids
animation to horror, you know,
it's a wide spectrum there.
Has having kids affected your
decision making in any way?
Jason: It has.
Uh, when I was starting out in Hollywood,
I mean, you take anything you can get
and you don't really think much about it.
And, uh, a good gateway into
Hollywood is horror movies.
You know, if you can get someone
scared, you can, you know, or
thrilled or you move them in some way.
I mean, that's a great way to get started.
As it progressed, by the time I had
kids, I got married, had kids, I
realized I can show them almost nothing.
Uh, that was really surprising to me.
And I, uh, Decided to make an effort like
I should probably do more things that
they can see in fact They've been in one
or two of them as extras and one of them
was so upset that Uh, they weren't in it.
I was like, you weren't born yet.
Like, don't be upset.
So I'm still trying to get an
opportunity for that child.
So if anybody needs a seven and
a half year old extra, uh, that
I could score, that'd be amazing.
But it has changed a bit more because now
this audience, you know, we all chased our
childhood, you know, you and I could sit
here and talk about movies that changed us
when we were kids, when we discovered it.
And We're all kind of still kind of
going back to that early magic, that
little bit of fire that happens.
And even when we get tired of, you know,
all the crap that happens in Hollywood,
you still go, well, what makes me tick?
What, what made me want to
do this in the beginning?
And it's those early
movies, those early things.
And I want to be a part of that
narrative for all kids, especially mine.
And, uh, one of the things I noticed in
all those movies, they had melody and
there was orchestras were live players.
There was a little bit more.
You know, it's kind of an
exaggerated experience of what's
going on in the narrative.
Because if you were just to
watch these things without
music, you know, it'd be flat.
It wouldn't be as interesting.
But when the music comes
in, it's much more vibrant.
And, uh, I want my kids to see that.
And that piece of my childhood will
show up in everything I'm working on.
And then hopefully they like it
and hopefully we can talk about it.
But they've seen this movie.
They laughed out loud.
So, and we'll see it again.
Again this weekend.
I hope they're excited.
Gareth: target audience, isn't it?
It's, uh, if you, if you're satisfying
them, then that's just amazing.
And yeah, and especially in the community
of composers for TV and film, there
is this touchstone of, seeing movies
when you're kids, and having that Major
inspiration to, to now do what you do,
And, uh, you know, certainly with, a lot
of my guests, they hark back to, oh, it
was the, this movie that, that started
everything or this movie or the, you
know, um, John Williams or Morricone
or, you know, it could be anything.
Jason: Yeah, those are
all amazing buzzers.
Gareth: So, as someone who's also
scored a kind of zany animated comedy,
I have to ask you about Teen Titans
Go, which looks tremendous fun.
you said you are working
on it at the moment.
Jason: hmm Yes, I've been working on thatshow since:
started, uh, they had low expectations.
They're like, we're just
going to break even.
We don't know it's, you know,
just do as much as you can.
And, uh, it started with like 52 episodes
and I'm not the only composer on it.
There are other composers and, uh, we
get to contribute, uh, in different
ways because the show moves pretty fast.
And, uh, but I mean, it turned out
to be a real success by the two or
three years in, I remember going to
like McDonald's or something and they
were selling teen Titans go toys.
I was like, Oh, we're doing fine.
So, the show is fun.
I mean, uh, it has a lot
of, again, that vibrancy.
We do cartoons a little differently now.
Cause I grew up on Bugs Bunny and some
of those where they're really, you
know, hitting every point and here,
you know, it's a little bit of talking.
Then they go into a thing.
So they kind of, they're
moving it around a bit.
Gareth: Yeah, it's something I noticed
that there was a team of composers.
But I wanted, what I wanted to ask you
was, do they all work at the same time?
Or has it been a bit of a relay race?
Or does that all work?
Jason: yeah, it's kind of basically
what we're doing is, uh, for that show,
depending on the time and energy they have
to, uh, you know, they're editing these
things and sometimes they have a graphic
and they can work on that where we can.
Can write musics to that, but in many
times they have music that we've already
pre, you know, used and then just
reusing that piece over and over again.
That's not uncommon at all for that show.
They have typically, uh, I mean,
I want to say there was about 52
episodes in the first season or two.
And so there, a lot of music
that we'd had written, that's.
You know, building into a library and
they'll reuse it in other cases, just
like, you know, the main title gets
reused over and over and the end titles.
And so, uh, all of that just,
uh, is just a work in progress.
And I, I'm not in all the meetings
with other composers at all.
So I'm not sure how they're all
approaching it, but, uh, it's
been fantastic fun on that.
Gareth: That's a quite a
unique way of doing things.
I've not experienced that myself.
Well, Shall we go back in time and find
out how it all began for Jason Brandt?
Jason: let's do it.
So, uh, here we are back in time, Jason.
Jason: Here it is.
Gareth: wasn't it?
So what are your earliest
Jason: Uh, my earliest, for sure, would
have to be, my, I had, uh, some family
members that played piano and guitar.
My mom, uh, did play piano and guitar.
Uh, my father was a minister
in a Lutheran church.
And my mom would, uh, they would
go to nursing homes in different
places, and she would perform.
And then she would perform
a little bit at home.
Uh, the big life change,
of course, it's Star Wars.
I mean, I was born in 73.
That movie comes out in 77.
And, uh, my goodness.
That hit me like a ton of bricks.
Uh, the other thing is I had an aunt
that would take that soundtrack and play
it in a car wherever we were driving.
And it, that was, it never occurred to
me that, wow, this music, you know, film
music doesn't always sound good separated.
From the picture and in this case it
did I just saw it as music and it's it
retells the whole story I mean you have
that beautiful fanfare and then it goes
into a different mood Only about a minute
and a half later where it's very dark
and it's filled with action You can just
hear the story beat by beat, you know,
uh cue by cue scene by scene and uh I
just remember seeing the movie once or
twice, but then hearing that soundtrack
over and over again with those car rides,
and I just thought, Wow, that's amazing,
and it just stuck with me for years.
It never occurred to me that I want to
do that, but that, that was a big thing.
I've had a number of instances in my life,
which I'm sure you have too, where, you
know, maybe when you got MTV as a kid,
and then you started seeing music videos,
you're like, Oh, wow, they're doing it.
Cause now you're seeing live players in
a way that you wouldn't normally see.
Uh, now we have the internet,
so it's no big deal.
You can see, you know, uh, you know,
anybody perform, you know, uh, you
know, a Russian symphony or
American symphony or, you know,
Leonard Bernstein, who's not
alive, you can watch all that now.
But back then you had to buy a VHS
or something, and maybe you'd see a
little bit on PBS now it's at demand.
But at that time, it was very
exciting to just see anybody.
They perform live and that
was always informative.
And so I had, uh, times when, you
know, first it was star Wars and
then MTV came along and I wanted
to play guitar and then play piano.
And I had a number of
lessons throughout life.
Uh, but the spark of music
is always interesting.
It, it, it, it always goes
back to your childhood.
Somehow it always does.
We're always kind of chasing that.
Gareth: Well, I mean, I was
born in the same year as you
and for me, it's star Wars.
It was the first film I
went to see at the cinema.
And I remember standing behind the
seats when Darth Vader was peaking.
And yes, probably the first moment that
I kind of reconciled that music and
the image can be such a powerful force
together, a force, sorry, pardon the pun.
Um, but yeah, and I, I think,
for a lot of TV and film
composers, it's the same story.
I hear it over and over again
that, you know, hit them like a ton
of bricks when they were little.
Jason: It was, yeah, it's a very
exciting time because if you remember,
even going through the eighties, every
month you'd hear a new composer that did
something amazing, like Jerry Goldsmith.
Anya Morricone, you know, uh, Alan
Silvestri, Thomas Newman, you know,
all that early Danny Elfman stuff
and just watching him grow from, you
know, Pee Wee Herman, Big Adventure
to, to Batman, just in that four or
five years is really interesting.
So you're hearing, you know, a lot of
vibrant music in the pop world, but then
you go to the movie theater and you're
hearing a good, you know, hour, sometimes
of classical music underscored throughout.
And to hear all that, I mean, I
just feel very fortunate that I was
born at that time to experience all
these things where the narrative
of music is just very big and fun.
There's a lot to learn.
Gareth: So I guess you were
quite influenced by the fact
that your parents were musical.
were there any other influences that
were steering you towards, you know,
picking up instruments and learning?
Jason: you know, Headbangers Ball was a
big, you know, when I was watching MTV as
a kid, I was like, I should play guitar.
That looks good.
I started with drums because I thought
that would be easier, and then I couldn't
find a guitar player to jam with.
I was like, well, maybe it can't
be that hard, and I was right.
Uh, you know, with time and, you know,
persistence, time and pressure, you
can do anything, and I've learned
many instruments that way, and uh,
some with lessons, some without,
but uh, there was, it was just the
kind of the environment at the time.
It was just very exciting.
And then going to concerts, whether
they be rock concerts or classical or
jazz, just seeing live players, just
living, breathing, uh, fun and just
watching the audience experience it.
It's just, it's interesting because so
much of music now is written on computers
and things are very quantized and it's
very compressed and it wasn't like that.
You know, most music for a long
time, you know, the dynamics of an
orchestra is very quiet and very loud.
And there's something about that.
That I feel like we've kind of
lost in today's music, in today's
world, where it's, it's always kind
of like a compressed clamshell,
you know, going over a hamburger.
Jason: I really appreciate what we saw
in the seventies and the eighties and
the nineties, uh, just kind of going.
And all of that was inspirational
and it's still fun to revisit.
And so, you mentioned the drums,
you went to the guitar, did
you have lessons on the guitar?
Um, did you, are you self taught?
Jason: I definitely
did the guitar lessons.
Uh, the honest answer is when I
started piano lessons, because, you
know, I started hearing Star Wars
and hearing all these amazing things
and you're hearing it in your head,
and then you start piano playing Hot
Cross Buns or Mary Had a Little Lamb.
It was frustrating.
I didn't like it.
I hated my piano lessons.
It took a while to get into it,
and it was, uh, the gateway for
that was then drums and guitar.
And I definitely had lessons for
each, but, you know, some teachers
get you, sometimes they don't.
You know, if you're
introduced to the right thing.
And you're in the right
space and you're inspired.
I mean, it's all about curiosity,
you know, ABC, always be curious,
just keep going and going and going.
And the more I, you know, I hear
something, you know, sometimes being
self taught can be advantageous.
My technique is not perfect, but I
sure enjoyed the process of getting
there and all the lessons I've had.
I mean, you know, guitar, piano,
drums, bass, uh, you know, and then
composing and conducting and all those
things have been very helpful, but it
was a little rocky in the beginning
because, you know, what you want.
I do isn't what you're
technically able to do.
So it just took a while
of being impatient.
And then, you know, I
didn't have that patience.
So sometimes you just
have to do it, just do it.
Jason: Mistakes and all that's fine.
Gareth: yeah, that's an
interesting route then.
So what, what kind of route
did you take into composing?
did you learn the theory and go through?
College and stuff like that.
Or, or did you just furrow down
and figure it out yourself?
Because I mean, both are equally as valid.
it's quite a personal
journey to have, isn't it?
Jason: it is, it really is.
Uh, the thing was, is when I started
playing guitar, uh, some of my favorite
guitar players were Joe Satriani and
Steve Vai and Eddie Van Halen and
Steve Ray Vaughan and Jimi Hendrix,
and to really understand what they're
doing on guitar, whether it's rhythm
or lead, you're going to have to
learn a little bit of music theory.
And, uh, I remember there was another one,
Randy Rhodes, he used to play with Ozzy
and after you learn your major and minor
scale, there's all those modes in there.
A long time learning those modes and
learning theory on guitar that eventually,
uh, at the same time while I'm doing
all this, I'm listening to soundtracks.
I'm just starting to collect.
I had like Dance with Wolves, Silence
of the Lambs, of course, Star Wars,
and I'm reading books while listening
to that and the soundtrack, you know,
in the background, and I'm really.
Impressed with all the
layers that are in that.
And so the big gateway for me, I
read an interview with Steve by
famous guitar player who had, when
he was a kid or somewhere in his
youth, a four track recorder, and
he said, I'm just going to write a
bunch of compositions on my guitar.
So on that four track recorder, I had.
A drum machine, a bass, and usually
two guitars, you could bounce those
tracks, uh, you know, you take three
tracks and record it into one, and
then all the way, if you keep bouncing
tracks, you can get up to seven tracks.
So I made a deal with myself to write a
piece of music every day in the summer of
92, and then never play it for anybody.
So I had the ability for it to be
terrible and, uh, just get through it.
But that was the most educational
experience I had where you
just forced yourself to write.
I mean, you know, composition
is just like learning violin or
any other trade or instrument.
You just have to keep doing
it and be willing to fail.
And that's what I did.
It was on guitar.
Uh, I started taking composition
lessons formally right after that.
Uh, I wanted to know more and I had, I
got like a Korg X2 and it had 16 tracks
on that, which was huge in 92 or 93.
I think that now it's the year after.
So 93, I got this huge thing and
it's a workstation and you're able
to record all these things with MIDI.
It was just a whole new world.
And so through experimenting and
then, I mean, the lesson really is
just your ears and looking at scores.
I mean, you want to learn about Bach, you
just listen to Bach and look at it and
then study it, and then hear the players.
And then same thing with John Williams.
You want to do it, try to
get it under your fingers.
You know, a piano a good piano reduction.
Getting things under your
fingers really, really helps.
And then you go, Oh
wow, he's moving a lot.
He's doing this, this, and this.
And then the way he wrote it for
the strings, it's all separated.
That's all fascinating stuff.
So that was kind of the gateway of
just being curious and just keep
going after it, being willing to fail.
And, uh, and then eventually,
you know, finding people who were
willing to tolerate some mistakes.
And then it's a collaboration
and then we're all making okay
films to really good films.
It's a, it's gradual
So I was going to ask what, was there
a moment where, in amongst all that
you decided, Oh, actually I want to do
this for a living, or the opportunity
come at you without, you know, you
realizing, how did that come about?
And what was it?
Jason: yeah, I would have to say,
uh, there was, you know, for a long
time when I'm a kid, you know, you're
like, I'm going to be a rock star.
That's what I want to do.
I'm going to try to be Eddie Van Halen or
the next Kirk Hammett or whatever it is.
And, uh, the music industry changed
immensely by the time Nirvana came in.
I don't know.
You remember the transitional
thing between one thing?
Guitar music was back.
Jason: And I remember thinking
like, maybe I don't want to just
play heavy metal guitar or rock
guitar for the rest of my life.
Maybe there's other things.
And that's when I started to listen to.
You know, I was already listening to
soundtracks, but I was thinking about
it more of how if I was to write for
media, I could write in any style.
The great thing about, you
know, film scoring is anything
you've learned in life.
Something, a piece of music you heard when
you were a kid, you could maybe use that.
Something you heard in college,
maybe you could use that.
Something you heard 10 minutes
ago, you could use that.
I mean, we're always taking from the
universe and then reinterpreting.
You know, just like this
conversation, we're just...
improvising now back and forth,
you know, some of this could end
up in a composition in its own way.
You know, you could say something
like, you should check out this artist.
Then I do.
And then it's amazing.
And then you're inspired by that.
And it just goes and goes and goes.
And so for me, the, the big point,
uh, I don't know if you remember a
movie called interview with a vampire.
It had Ellie Goldenfall.
It was a score by him.
I heard that music and Before
that, I thought, oh, maybe I
can figure this out on my own.
That was the score that made me go, I
don't, I don't know what he's doing.
And there's no sheet music for this.
They're not releasing
film scores on paper.
Uh, you know, because he's got these
things where there's horn rips in
it, and then the horns are slowly
bending and twisting, and then he's
doing all these extended techniques,
not familiar with at all, but it was
amazing, it was absolutely amazing.
I'm hearing magic in a different way
that John Williams is bringing magic
and all these other components are.
So around 94, at the end of that,
I was like, I should, I should do,
you know, music for medium for film.
And I realized I could do it for film.
That was the goal at the time.
And then television, video games,
commercials, it's an endless thing.
And since I play all these
And there'll be a home for everything.
And that's been my experience.
Any piece of music I've ever
written, there's a home for it.
Somebody needs it somewhere.
And, um, there's nothing wasted.
So that was kind of the game changer
for me around 94 with Elliot Goldenthal.
And then that rabbit hole of these
amazing composers that I would have
written off prior, I'd be like,
I don't know what I do with this.
But then, you know, You know, same
thing with the movie, The Shining, you
know, you hear all of these in 2001,
there's all these extended techniques
from Xenakis and Penderecki and you're
like, how, how are they doing that?
Then you see the notation for it.
You're like, yeah, I was never going
to guess that, you know, it's like an
arrow with every instrument playing
the highest note for 30 seconds.
They're improvising that and that's,
it's a different style altogether.
So all of that got my wheels turning and
I was like, this is super exciting and
At the end of 94 when I saw Interview
with the Vampire and listened to that
soundtrack a million times, I realized
I want to do that kind of thing.
And, uh, it went from there
Gareth: all the way
through to camp hideout.
Jason: all the way to Camp Hideout.
Gareth: That's wonderful, Jason.
I ask all of my guests to leave
an item and a piece of advice in
the music room for others to find.
What advice would you like to
leave in the music room for anyone
who would like to hear some?
Jason: I have a couple of things.
Uh, the first one is just take big risks,
you know, uh, bet on yourself, Get the
education you want to get if you think
it costs too much, maybe you're worth it.
You have this one life.
You really should run towards it.
My biggest regret every time once I've
achieved something, I was like, I could
have gotten earlier if I had just taken
more risk, I could have done this.
You know, it's like coming to Hollywood.
I was 26 years old.
I went to USC to do that and I
knew I was going to stay here.
But even then, like maybe I
could have gotten here earlier.
I could have done more Even with what
I'm doing now, like I'm getting to
talk to you and doing interviews.
Maybe I should have hired a PR, you
know, Impact 24 has been amazing.
I should have probably
called them 20 years ago.
Uh, over and over again, I've had this
experience of like, Uh, this is great that
I've succeeded, but I, I arrived with a
certain amount of fear, and I, I probably
should have just leaned in more with that.
So that's one piece of advice.
The other one, uh, when I was at USC,
Christopher Young, great teacher,
great composer, uh, he said something
amazing that's stuck with me since then.
He said, Hollywood is the land of dreams,
but it's also the land of broken dreams.
Uh, there are some people that do
want to see you succeed, but many
others, uh, only go so far, and they
don't want to see you succeed, and
you kind of have to be wary of that.
Uh, that's, it's a weird problem,
you know, because you think, oh,
everyone's rooting for me to succeed.
Not so much.
Uh, there are some people that only
went so far and then they get bitter.
You know, you see that with family
members, you know, they kind of hold
you back and go, you're not good.
I've known you since then.
This is what you're capable of.
Don't do that.
Don't believe them.
You write your own story.
Go as far as you possibly can.
Bet big on yourself.
And be wary of the people, you know.
there are some people that are rooting for
you and they are dreamers and they want
to do this and then there are those that
they're only meant to go so far they're
going to plateau and so that's kind of
my advice is just that big on yourself
uh stay away from the negativity you know
take breaks channel what you did in your
childhood what did you why are you here
why are you doing this are you doing it
because you love something that's what's
going to drive you over and over again
and uh you know that that's ultimately it
I love that.
I love the run towards it,
you know, just go full on.
And I liked, uh, earlier on, you
said ABC, uh, always be curious.
I think that's, that's a
great bit of advice as well.
That's going in the music room for you.
And how do you have an item that
you'd like to leave for others?
Jason: for me, I would have to say, I
mean, in time, if I went back, part of
what nurtured me in every Anytime you get
trying to navigate being a teenager and
going through all that, I had a cassette
Walkman, one of those Sony's, uh, you
know, and I had a headset on all the
time throughout high school, then into
college, and just the constant listening
to music and listening and just any device
that delivers music to my head is huge,
uh, because I'm always listening to it.
And if I'm, you know, cooking
food for the kids, guess what?
I'm going to listen to music.
I'm running an errand.
I'm gonna listen to some music.
So I'd say, you know, a pair of headphones
with, now it's an iPhone, which is great
because I can fit thousands of CDs on it.
I mean, if you drove in the car with me
in the, you know, early two thousands
and you'd be like, it's messy in here.
I'm like, yeah, just don't put your
feet on all my CDs because you never
know what you wanna listen to back then.
Now it doesn't matter.
But that's definitely, that was a
game changer for me just having,
you know, an iPod and now iTunes in
general and just being able to channel.
So any mood.
So if I'm in the mood for Sinatra,
and I just want to get that in my head
space, or if I'm wanting to hear some
Thomas Newman or, you know, Pantera
or Stravinsky, whatever it is, uh,
Gareth: It's a whole,
Jason: probably my favorite thing.
Gareth: it's a whole music education
in your ears, isn't it really?
Jason: is, you know, all the answers
are in those recordings every time.
And, uh, And there's still, you know,
you listen to it today, but next
year it's going to sound different
and it's going to be more important.
As we age, we, we grow with certain
recordings and, uh, I'm so thankful
for, you know, having, you know, again,
being born when we were born to hearing
all this music from the 70s, 80s and
90s as it happened, you know, in time.
Because now when you look back, you're
like, how do you listen to Jimi Hendrix?
And you have to advise them,
uh, in the order it came, you
know, how do you watch Star Wars?
Please watch it in the order it came.
Don't go rogue and play these
things out of, you know,
It's, it is controversial, but
you know, the way it was delivered
to us, please hear it that way.
I don't hear a greatest hits.
I don't believe in greatest hits
recordings of any kind, you know, go back
to the, you know, if you want to hear the
Beatles start in order, you know, if you
can, because, and that's ultimately it.
So, you know, iTunes, iPod headphones go,
Gareth: But what, what worked for you was,
did you say the Sony cassette Walkman?
Jason: At that time, yeah,
With it, with the foam ear phones.
Jason: yeah, I used to have a paper
route, and so I would have to go
through sprinklers, you know, and
all sorts of terrain on a bicycle,
uh, while throwing newspapers.
Back in the day, that's
how you got the news.
It was on paper, and we would deliver it.
And so I had a cassette,
and it was waterproof.
So it was there, you know, this
big, bright, yellow, waterproof Sony
Walkman, uh, with these big, bright,
yellow, uh, you know, thin headphones.
And, you know, every day for an
hour and a half, I'm delivering
newspapers, listening to various things,
whether, you know, be Van Halen or
be Beethoven, whatever it was, it was
keeping me moving and I still do that.
I have not outgrown this process.
Gareth: Well, that's fantastic.
And if that worked for you, then the
big yellow Sony waterproof Walkman
goes into the music room because it
would clearly, uh, help someone else
and probably, nurtured your love of the
album rather than just picking random
Gareth: reason to put that in.
It's funny because, uh, all the
albums I listened to back then,
I'll listen to it in order of
this track listing that they had.
I don't do that now.
Now I'll get a recording.
I'm like, uh, let's, I actually
arrange things by tempo.
I like things faster and
then it goes slower because
whatever it is, I'm high energy.
I'm like, it's a go, you
know, it, you know, like Ennio
Morricone, he's very interesting.
Some of the most beautiful music he's
written, but those are slower tempos.
John Barry's like that, like dances
with wolves and very slow, slow tempo.
And, you know, those are the ones
I'll still listen to in order
because it's programmed certain way.
But, uh, you know, if it's a recent
rock album and it doesn't matter, um,
and I feel bad about that, but if I'm
listening to Metallica's Master of
Puppets, oh, it'll be Battery, you
know, and then Master of Puppets and
straight on through all those songs.
Gareth: That is going into the
music room along with your advice.
it has been a joy
chatting with you, Jason.
Uh, lovely to meet you.
Thanks for joining me in the music room.
Jason: you too.
Thank you for having me.
It's an honor to meet you and I
look forward to hearing your music.
Gareth: Thanks for listening to
the Music Room podcast today.
If you'd like to know more about the
show or the community that surrounds
it, head to music room.community.
The link is in the show notes.