Scoring Stories: A Conversation with Composer Aaron Gilhuis
Aaron Gilhuis is a Los Angeles-based composer whose evocative scores bring stories to life across film, television, and video games. Known for his work on The Miseducation of Bindu, Mass Effect: Andromeda, and contributing to Terrence Malick’s A Hidden Life, Aaron’s music combines rich instrumentation and emotional depth. His ability to craft unique soundscapes and memorable themes has made him a sought-after talent in the industry. In this interview, Aaron discusses his approach to composing for the series Me, shares insights on his creative process, and offers a glimpse into upcoming projects, including the dynamic and historical Queen of the Ring.
What drew you to the world of composing and creating original music scores for various media?
Storytelling, music and film have really been the only things I’ve ever felt passionate about in my life. Starting out being a musician, songwriter, and music producer, I always felt drawn to the orchestra, adding string lines to my songs. Carefully dissecting orchestral parts from my favorite movies, and hearing how they are written. I have always been drawn to music in film, and once I discovered there was an actual job called Composer, who writes music for movies, it’s like a light switched on. That’s all I wanted to do, that’s all I thought about, and that’s all I did.
Were there any specific musical instruments or techniques that you found yourself gravitating to while composing for “Me”? What are your go-tos in general?
I have a large instrument, synth, and pedal collection, so those are really my go-to’s. I cant think of a score that i’ve done that hasn’t heavily relied on one or more of those. “Me” is definitely no exception. All the synth arpeggios, ostinato’s and ambient pads, and leads, all come from sounds I’ve made, and curated for the project with my outboard synths. Each going through 6 or 7 pedals adding modulation, delay, tape effects, multiple reverbs, and layered upon each other. That main ambient synth melody is probably 7–10 patches, each going through the pedal chain, and layered and mixed together. I spent quite a bit of time experimenting, making sounds, and perfecting the chain for the show.
The premise of “Me” is quite unique. How did you ensure that your musical score complemented the distinct narrative and themes of the series? What is it about your score that enhances the overall viewing experience?
When I start the first thing I think about is, what does this world sound like? Even before specific themes. Its the tone, mood, vibe, atmosphere. What is the pallet? What does the template look like? Building the sound of the world is so key to my process. Experimenting with sound design, and creating instruments, synth patches, etc. Then I find melodies and themes present themselves so much more organically. I think because we approached the score in the same way Barry approached the story and characters, with an emotional groundedness, we were able create something that matched the story so well. I think we blended the emotionality and the epic super hero moments quite well, and what we were left with was, a very heartfelt, and hard hitting score, that is unique to Ben and this new world that he’s fallen into.
“Me” tackles a variety of themes and emotions. Can you describe your process for developing a musical theme or motif that represents the central character or a key moment in the series?
Our main theme for Ben, you can hear in its simplest form in the main title of the show. The simple piano motif while he draws the word “Me” in the mirror, Barry, Michael, and I spent quite a bit of time crafting this melody. We all wanted something extremely memorable, that could get stuck in your head, and also represent Ben’s upward journey to discovering who he wants to be. You can hear it evolve and grow in arrangement as the show goes on. Starting very small and contained, almost self conscious, then getting to that powerful moment in episode 9 where Ben tells Max, “I want to be me”. It comes to life, is confident, bold, self assured. I just love that moment, and love how Ben, and our theme evolves to get there.
Carter’s theme also has a huge role in the show. We first hear it in episode 1 on the swing set. It adds this new mystery and intrigue to the show. Someone knows what’s going on with Ben, and has all the answers, but won’t give them away. Her theme grows with her as we learn more of her story, and also fuses with the storm theme. It gets incredibly big and epic during the storm battles, and very tender and emotional during the hard parts of her story. It was such a blast writing for her, and taking this emotional journey with her.
How do you stay creatively inspired and motivated when working on multiple projects simultaneously?
It’s definitely a shift in perspective as you switch from one project to the next. It feels like a whole different world shifting focus from one to another. Different workflows, instruments, sonic variations. It’s a mental shift. But it gives you a chance to come back to the other project with fresh ears, and perspective. That cue you were really excited about, maybe it really isnt working anymore, or maybe you hear it in a new way. It keeps you on your toes, and also helps you be decisive. I think it’s almost better when the projects are completely different, as your arrangements aren’t blending together. They can be very distinct, and keep you excited about what you’re doing currently.
What are some of the biggest lessons you’ve learned throughout your career that have had a significant impact on your approach to composing?
I think the biggest thing is to develop a unique voice for your music. Make it easy for people to pick you, as only you can do that specific sound. Be bold in your writing. Build your instrument collection, and hone your skills in recording, producing, as well as composing, and orchestrating.
Can you share any upcoming projects or collaborations that you’re excited about and would like to highlight?
Yes! I am currently scoring a very exciting project called Queen of the Ring. set in the 1930’s-1950’s, it is the story of the first million dollar female athlete Mildred Burke, who revolutionized women’s wrestling in America. The score is super fun, lot’s of blues, folk, americana, mixed with orchestra. Can’t wait for people to see/hear it.
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Thank you for reading! You can learn more about Aaron’s work here.