Soundtrack

TONY MORALES (COMPOSER)
Tony Morales began his career as a staff composer in the commercial music division of Hans Zimmer's Media Ventures. Since then he has gone on to compose numerous scores for film and television including the short film Gopher Broke, which received an Oscar nomination for Best Animated Short in 2005, and Ball Don't Lie, an official selection of the 2008 Tribeca Film Festival. Tony also works with some of the film industry's top composers. He recently wrote additional music for The Change-Up with composer John Debney and Fast Five with composer Brian Tyler, whom he also worked with on the scores for Battle: Los Angeles, TheExpendables, and Law Abiding Citizen. In May 2010 Tony arranged and produced a version of Bob Marley's "One Love" for the Shrek Forever After soundtrack, which was performed by actor Antonio Banderas.

EDWARD ROGERS (COMPOSER)
Edward Rogers is an Emmy-nominated composer for film and television. For six years he brought the gritty streets of New York to life with his underscore for the award-winning series, NYPD Blue (ABC), and he continued his collaboration with producer Steven Bochco on the acclaimed series Over There (FX). In 2010 he was nominated for an Emmy for his theme music to SyFy's hit show, Warehouse 13. He also scored the film Amar a Morir, a Romeo-and-Juliet love story set in the rural beaches of Mexico, which won awards at both the Santa Barbara Film Festival and the Guadalajara Film Festival.

NOTES FROM TONY MORALES AND EDWARD ROGERS ONCREATING THE SCORE FOR "A YEAR IN MOORING."
In most cases, the film composer's seat is a lonely one, so we relished the opportunity to collaborate on the score for "A Year In Mooring." When we began the process of creating the sound of this film there were obvious challenges – how to deal with the limited amount of dialog, how to keep up with the immense, yet restrained, beauty of the photography without stepping on it – but we were struck by the opportunities it offered. We agreed the music should have an organic feel and that the score should be thematic; not only should the humancharacters have themes, but so should the boat, the seasons, the weather. The cold of winter inspired the use of bells and metallic sounds, and the loneliness of the boat lead us to the ambient, melancholy beds throughout. The themes are simple, and they become clearer melodically as the film progresses and the young mariner comes to terms with his life and what he has experienced.