You are listening to The Next Best Picture podcast, and this is Dan Baer's interview with the composer for Vigal Finch, Trevor, Trevor.

Hello.

So I wanted to start by talking a little bit about your history and your work prior to

the Goldfinch.

This is not your first film score, but it is the first

narrative feature anyway that you score that has been released. So you're a little bit new to a lot of

people, I think, in film, but you have done a lot of work previously, concert work, and you compose music for a ballet, and

you produced for Kanye West, and you assisted for Philip Glass and Nico Muley.

How has all these things sort of informed where you ended up doing work for this film?

I think it's one of those things where you kind of find your way by your experience,

kind of almost like you're taking on a river of different opportunities.

You find that the best places or the best opportunities in front of you, you just kind of like go with it.

And so like my undergrad degree was in a piano performance.

So at that time, I was pretty sure I was going to be a classical pianist.

And I was like, well, that's it.

That's going to do that.

By my senior year of college, this was at UT Austin,

I started to get into composing because I really loved music of like living composers or, you know, more recent composers at least um like uh ligatee and i was even getting

into philip glass at the time and so i started writing music and then i went to yale for

composition and i was full on all right i'm going to write symphonies and operas. That's like it.

That's like my plan.

And then once I interned for Philip for my two-year program, so both of the summers there,

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