Here’s the official trailer for one of the latest projects I’ve wrote the music for, the korean thriller “The Frog In the Stone” directed by Chi J. Lee
At the following LINK you can listen to the full soundtrack.
-
-
Nomination at X Jerry Goldsmith Award
I’m happy to share this news with you, I’ve received my 10th nominee at the Jerry Goldsmith Film Music Awards (5 years in a row !)
The nomination is in the category “Best original soundtrack for advertising” for the trailer of the webseries “I 7 giorni della fine del Mondo”.
Here’s the video to listen to the music:
The main idea I wanted to convey through the music for “Seven days to the end of the World” was clearly that of impending doom, a strong feeling of fear and anxiety – the same we can recognize in the voice of the actress in the trailer. The second part is more elaborate, adding such other elements as strength and even hope, but still retaining some kind of deep uncertainty.
And here’s the link to the awards website, fingers crossed!
http://festivaldecordoba.com/en/x-jerry-goldsmith/
-
Meeting Alan Silvestri
In May I had the privilege to meet in person Alan Silvestri, one of my personal heroes and one of the reasons why I started my career as a composer (he himself told me “I’m deeply sorry for this…”
).Alan is one of the nicest persons I have ever met, humble, sensitive and generous.
Here are some pictures from the event and a (very long) video with various talks and interviews (questions mostly in italian and answers in english).
-
Rocks in My Pockets vince il premio ColonneSonore 2014
Cari amici, sono stati annunciati ieri i vincitori del premio ColonneSonore 2014.
Sono lieto di comunicarvi che “Rocks in My Pockets” ha vinto il premio come Miglior Colonna Sonora per film straniero.
Come vedete i voti sono stati tantissimi, e di questo non posso che ringraziarvi
http://www.colonnesonore.net/news/premi-e-concorsi/3612-premio-colonnesonorenet-2014-i-vincitori.html“E’ ancora un compositore italiano a conquistare il premio nella categoria Migliore Musica per Film Straniero 2014: il giovane Kristian Sensini vince per la colonna sonora del film d’animazione lituano Rocks In My Pockets, sbaragliando illustrissimi nominati nella medesima categoria. La sensibilità mostrata dal compositore lauretano per questo piccolo e insolito film lo porta a diventare una delle voci più interessanti tra i giovani talenti nostrani. Alexandre Desplat, fresco vincitore del Premio Oscar, viene insignito del premio come Migliore Compositore Straniero 2014 in un’annata che lo ha visto assoluto protagonista del panorama cine-musicale internazionale grazie a partiture eccellenti per film come The Grand Budapest Hotel, The Imitation Game, The Monuments Men e il mega-blockbuster Godzilla. Desplat sta diventando rapidamente il più celebre compositore di musica applicata a livello mondiale e anche il premio dei nostri lettori ne è una testimonianza.”
La mia colonna sonora è la migliore tra i film stranieri del 2014? Obiettivamente no, tra i concorrenti c’erano musicisti molto più meritevoli di me, ma mi fa sinceramente piacere che tante persone abbiano votato e sostenuto il mio lavoro.
Spero che un premio del genere riesca a dare visibilità alla mia musica e che possa tornare presto a scrivere musica per il Cinema Italiano, che pur con le sue mille idiosincrasie merita il nostro affetto e la nostra attenzione.Vi ricordo che se volete potete ascoltare la colonna sonora su Itunes e Spotify
L’elenco completo dei vincitori
Migliore Compositore Italiano 2014
GIORDANO CORAPI
Migliore Compositore Straniero 2014
ALEXANDRE DESPLAT
Migliore Musica per Film Italiano 2014
GIORDANO CORAPI Take Five
Migliore Musica per Film Straniero 2014
KRISTIAN SENSINI Rocks In My Pockets
Migliore Canzone per Film Italiano 2014
MARCO TESTONI, EDOARDO DE ANGELIS e MARIA CRISTINA DI GIUSEPPE, “Io credo, io penso, io spero”, interpretata da ANTONELLA RUGGIERO – dal film BlackOut
Migliore Musica per Fiction Italiana 2014
STEFANO LENTINI Braccialetti rossi -
Premio Colonne Sonore 2014
La colonna sonora di "Rocks In My Pockets" ha ricevuto una nomination nella categoria "Miglior Colonna Sonora per Film Straniero" dalla giuria del premio ColonneSonore Award 2014.
Inutile dire che sono onoratissimo per il riconoscimento e soprattutto per essere in gara con i migliori compositori al mondo, musicisti che ammiro da sempre.
Se volete contribuire a questa impresa titanica potete votare per il sottoscritto e per "Rocks in my Pockets" al seguente link
http://www.colonnesonore.net/sondaggi/index.php/5-migliore-musica-per-film-straniero-2014
Tra gli altri nominati troviamo nomi di altissimo profilo come Hans Zimmer (Interstellar), James Newton Howard (Maleficent), John Powell (Dragon Trainer 2), Howard Shore (il terzo capitolo de Lo Hobbit), Alan Silvestri (Una notte al museo 3), Marco Beltrami (Snowpiercer), Gary Yershon (Mr. Turner) Dario Marianelli (The Boxtrolls) e Alexandre Desplat (Godzilla, The Grand Budapest Hotel e Monuments Men). Zimmer e Yershon sono anche candidati agli Academy Awards (i premi Oscar) così come Alexandre Desplat che ha di recente vinto anche un premio Bafta ed un Grammy proprio per la colonna sonora di The Grand Budapest Hotel.
Per quanti mi hanno chiesto come vedere il film, posso annunciare che è finalmente disponibile online al seguente link ROCKS IN MY POCKETS DVD
Potete affittare il film, acquistare la copia digitale o quella in DVD. In quest’ultimo caso, la copia sarà in formato NTSC (compatibile con tutti i lettori moderni), l’accortezza che dovete usare sul sito è quella di indicare che state acquistando non per l’Italia ma per gli Stati Uniti, potrete poi indicare il vostro indirizzo normale al momento del Check-Out. Questo perchè in Italia di norma utilizziamo il formato PAL ed il sito ci dice che appunto non è disponibile.
-
“Rocks in My Pockets” one of the best scores of 2014 on Film.Music.Media
My score for “Rocks in My Pockets” is listed in this chart as one of the best scores of 2014
http://www.filmmusicmedia.com/articles/bestscoresof2014
2014 was an exceptional year for film music as we saw composers have their shot at original ideas from some amazing auteur directors. The result is a grand selection of scores that put strong emotional storytelling on full display. 2013 saw the fall of the studios in terms of quality, and indie films rose to show how things should be done. In 2013, Ain’t Them Bodies Saints topped this list, which is a film that barely got any distribution. 2014 saw the studio pictures take the spotlight a bit more, but not without some impressive scores from the indie world. All in all, these scores represent the best film scoring had to offer in 2014. When selecting, all scores for film and television were considered. This year, video games got their own separate list because it was deemed that the musical needs of a video game are vastly different than structured narratives. While this is a numbered list, all these scores demonstrate excellence and effectiveness.
15. Rocks In My Pockets by Kristian Sensini
Rocks In My Pockets squeezes into the list to start the countdown. Signe Baumane’s very personal film is indeed very autobiographical. It took a unique and personal way to explore mental illness, and did it in a way that resonated. Kristian Sensini’s score compliments and supports the stories in the film perfectly. It has the right amount of quirk and style. At times sounding like a circus, but never disregarding the emotions the story is conveying, it’s a wonderful window into one woman’s mind.
14. Dawn Of The Planet Of The Apes by Michael Giacchino
Giacchino steps in with director Matt Reeves to take over Caesar’s story. Giacchino decided to ignore what Patrick Doyle did before, which actually was the most respectful way of going about it. The music is at times primal, at times exotic, and all the time very Giacchino. The music manages to make this tale of man vs. ape emotional, tense and downright thrilling. Also you won’t be able to get that chilling and tumbling ape motif out of your head.
13. Captain America: The Winter Solider by Henry Jackman
Leave it to Henry Jackman to finally do the most original scoring approach for Marvel since Ramin Djawadi’s rock-based Iron Man score. Turning to European electronica music for influence, Jackman crafted a score that racked up the intensity and action to an unexpected level. The score was a propulsive action soundscape that shrieked and pierced your brain to make your hairs stand on end. The Winter Solider got a ghastly and disturbing vocal cry that announced his presence. This added intensity and dramatic weight that we’ve never seen in any Marvel film prior. It’s also one of the most original action scores in recent memory. Many people criticized the score’s approach, and it’s safe to say those people don’t understand the real function of score.
12. The Monuments Men by Alexandre Desplat
Alexandre Desplat had quite a year, and early on he wowed us with this gem of a score. It called back to that classic 60’s and 70’s style scoring with a light Elmer Bernstein flavoring. What made this score resonate was its fantastic theme and variation; the ability to alter the mood or tone of the story through the score’s unique personality.
11. Calvary by Patrick Cassidy
You don’t have to be religious to fall in love with one of the most deeply moving and existential scores of the year. Cassidy creates a somber reflection that is widely accessible and relatable to all. Above it all, this is a deeply human narrative that will stick with you through its thematic structures.
Full Review
10. Big Hero 6 by Henry Jackman
Jackman brings tons of heart and excitement to his now substantial Disney resume. Big Hero 6 is probably some of his most matured writing, crafting a great theme that works both as a traditional heroic anthem and as well as a poignant reflection of dealing with loss. Part orchestral and part electronic; the score has a unique identity of its own while staying true to Jackman’s voice.
9. The Theory Of Everything by Jóhann Jóhannsson
Jóhannsson’s impressive score of the early life of Jane and Stephen Hawking is very impressive. If you dig past its traditional biopic shell, you’ll find at its core that it’s a great examination of love, passion and the complexities of people going through hardship. The score is as much about falling in love as it is about falling out of love, and brings two people’s early-life joys and struggles to a resonating light.
8. The Hobbit: The Battle Of The Five Armies by Howard Shore
Shore once again concludes another fantasy epic. The third entry in the Hobbit trilogy is the strongest, both film-wise and score-wise. Shore’s thematic writing hits the ground running and sweeps us away on this climactic act in the story. The score is bold, weighty and emotional. The whole experience carries a slight regality to it all, making it a truly fantastical conclusion as well as a thematic bridge to Fro
do’s journey that follows chronologically.
7. Birdman Or (The Unexpected Virtue Of Ignorance) by Antonio Sanchez
Who knew that a completely improvised drum score would work on such an emotional and psychological level? Sanchez somehow manages to take us inside the minds of the characters. A lot of the film and narration is internal reflection, and the drums are a perfect way for the audience to access that. Also, it allowed for the film to be built around the score, from editing to shot duration, the drums dictate the pace of the film. A very unique score for possibly the best film of the year.
6. Whiplash by Justin Hurwitz
Whiplash works on two levels. You have the diagetic big band music that exists in the world of the film, and you have the non-diagetic score that works to take us into the mind of our protagonist. The score functions in a similar way to Birdman, it is the externalization of the character’s internal emotions and thoughts. The score is brilliant in its approach and its way to bring the audience in, and it’s all done in that big band style.
5. The Imitation Game by Alexandre Desplat
While The Imitation Game bay have been a 2-3 week rush job as a replacement score, it proves that some composers shine under pressure. Desplat delivers a brilliant accompaniment to Alan Turing’s amazing story. Instead of being a biopic, the film focuses on a very specific event in Turing’s life, and through the score we experience all who this man is. The score strives in its simplicity, never being bigger than it needs to. It acts as the side dish, not the main course and with that becomes one of the year’s best.
4. How To Train Your Dragon 2 by John Powell
While Dawn Of The Planet Of The Apes and Captain America: The Winter Soldier are on this list and are sequels, they really aren’t sequel scores. Here we have the only score on the list that sees a composer returning to score a sequel, and boy is it grand. Powell follows up his Oscar-nominated score with this robustly brilliant second entry. New themes and old ones find a way to co-exist to take the story into a grander scope. We may have lost the intimacy of the first score, but it doesn’t make the score resonate any less. Any timid intimacy is replaced by the warmth and love of Hiccup’s mother who is introduced with some fantastically nurturing music. Powerful passages that bring intensity and reflect painful loss make this journey just as emotional as it was the last time.
3. The Homesman by Marco Beltrami
Beltrami’s innovation and incredible sense of humanity ended up making one of the most power scores of the year. His third collaboration with director Tommy Lee Jones has shown just how much he really is capable. From creating unique sounds by building custom instruments and recording the score outdoors, Beltrami has crafted a bleak and somber score that penetrates deep. The main theme feels like a hymn or a ballad, and it’s used powerfully throughout the body of the score. You connect with the characters more so because of the music. This unique film carries an equally unique score, that also may possibly Beltrami’s best score to date. It’s also a remarkable entry in the western genre.
2. The Grand Budapest Hotel by Alexandre Desplat
Desplat seems to outdo himself with each new Wes Anderson film, and his score for Moonrise Kingdom topped this list in the past. He manages to bring Anderson’s images to vivid life in the most unique way possible. The music here is Russian-inspired as the film takes place in a fictional European place, but the film is also inspired by Austrian writer Stefan Zweig. Desplat blankets it with an eastern European flavor that still manages to craft a unique soundscape. Everything comes alive with fantastic melodies, emotional reverence for the story and unique instrumentation. You won’t find a more uniquely special score like this, and it works hand in hand with the source music Anderson has chosen. It misses the top spot by just a hair.
1. Interstellar by Hans Zimmer
This may be Hans Zimmer’s most personal score to date. This isn’t a score about space travel, it’s about the relationship between father and child. One can spend all day speculating about what kind of challenges Hans has faced as a father, be it balancing work with family or trying to create the perfect home for his children to grow up in. Just listen to the score and it will speak to you. Hans’ writing here is very vulnerable and accessible, it echoes the relationship of Coop and Murph perfectly. In the end he does add stunning awe and gravitas to the picture doing what he does best, but at the core it’s something special and uniquely personal. I wrestled whether or not this or The Grand Budapest Hotel would be #1, but ultimately the fact that the film and score rely on each other so heavily really does make it the best example of narrative music working with picture. There’s also so many layers and textures to analyze, from the choice of the organ to the minimalist builds. Even if you disliked the film, one can’t deny the brilliant relationship Nolan and Zimmer have, the score is evidence of complete creative freedom from a composer who was gently guided by a director who loves his craft.
-
“Rocks in My Pockets” Ost at the Soundtrack Geek Awards 2015
http://www.soundtrackgeek.com/v2/soundtrack-geek-awards-2015-nominees-vote-now/
I’m really happy to announce you that my score received a nomination at the 5th Annual Soundtrack Geek Awards presented by Soundtrack Geek and Soundtrack Dreams!
“Rocks in My Pockets” is in noination in the Best Animation Score category, here are the other nominees
The Nominees are chosen based on Top Scores 2014 Critic’s Choice, Soundtrack Geek Index and Soundtrack Dreams top choices for 2014.
Basically 7 nominees are chosen based on what 20+ soundtrack review sites say about the scores and the rest are added based on the Soundtrack Geek Index and Soundtrack Dreams top scores for 2014. For the category Best Score 10 are chosen. For Best Cue, there are 20 nominees.
So start voting! The votes will close in 6 days (at midnight 17 of January) and the winners will be announced on Sunday January 18!
-
Rocks In My Pockets Interview on The Audio Spotlight
http://theaudiospotlight.com/kristian-sensini-interview/
Tell us a little about yourself and how did you get into scoring for films?
I’m a cinephile and I have a true passion for movies and storytelling. I was lucky enough to grow up in the eighties, a great decade for movies for young audience, with amazing orchestral scores (think about Star Wars, Back To The Future, The Goonies and so on…). I have written music since I was very young and even when I was pursuing a career as a jazz musician people kept telling me that my music had visual qualities, and could be good music for images. As a matter of fact my inspiration, even when I write music not attached to any movie, usually comes from images or stories. So I guess that writing music for movies was sort of my destiny.
What is your usual process for creating audio content for different media?
It’s always different, depending on each project. I usually try and immerse myself in the world of the specific project I’m working on, I do musical and technical researches on instruments in order to create a unique palette of sounds that I think can be good and original. Then I cross my fingers and hope for inspiration to come… and I’m often very lucky.
How did you get involved with “Rocks In My Pockets”?
I was searching for animation projects to score and I had contacted Bill Plympton, a well know director and animator. He’s a friend of Signe Baumane’s (director of “Rocks in my Pockets”) and suggested she contact me to score her debut feature movie. She did and it all worked out.
How long did it take you to score “Rocks In My Pockets”?
It took about three weeks to score this film. That was the deadline to submit the movie to some major festivals.
What would you consider to be your favorite track to score in “Rocks In My Pockets”?
Probably “Anna’s Theme”, which became the main theme of the movie. It is a rather simple track, a bouncy waltz, funny but at the same time a melancholic tune. At first, when I was trying to find a tune for Anna’s character, it was coming out really sad and melancholic (I was probably influenced by the Beatles’ song “She’s Leaving Home”, as in the movie we have this story of a young girl who left her home). The director then showed me another point of view, that this girl leaves her home and family to start an amazing adventure, that is to say the discovery of her adult life. So I trashed the old cue and started from scratch, and the result was so good that “Anna’s Theme” became a reoccurring melody in the movie, even in the end titles.
You have mostly scored films. If you were to score a television show, what would be your ideal show?
Great question! Probably something like “Black Mirror”, “Utopia” or “Twilight Zone”, projects where you can use different musical approaches and even a bit of humor here and there.
Your first project you scored was “The Mongol King” in 2005. How do you think your work has changed since that project?
I think I’m maybe more conscious of what I’m doing. I’ve built a workflow that helps me save time and stay focused on the projects I’m working on at the time. Hopefully I’ve developed a personal voice as a composer.
Any specific “lessons learned” on a project that you could share?
Every project is a lesson, because working for film is an intimate and collaborative experience between artists, you share ideas, feelings, and you correlate with other people’s lives. I love this job because there’s something to learn on every project. The greatest lesson I’ve learned is that the best thing is to be honest with yourself and your music, while trying not to imitate any other composer (something that people do all the time for the desire to find an easy consent). This way, in the end, you know that your time is well spent because you’ve created something new and original.
If your budget was endless for “Rocks In My Pockets”, what would you have done different musically?
Nothing, from a creative point of view. Monetary wise, maybe I would have recorded in London, at Abbey Road, just for the pleasure of working there for a couple of days.
Any tips, hints or motivational speeches for the readers?
Be original, the world needs new beautiful music, not something “already heard” elsewhere. Try to push yourself to experiment as much as possible and be brave to defend your ideas and your musical identity. Also, pray that you find a good director who loves your music and believes in you as much as you do.
-
Composer Kristian Sensini talks ROCKS IN MY POCKETS
New interview about the soundtrack I wrote for Rocks In My Pockets this time for the cool guys at Agents of Geek
http://agentsofgeek.com/2014/12/composer-kristian-sensini-talks-rocks-in-my-pockets/
We recently had the chance to interview composer Kristian Sensini about his new project Rocks In My Pockets. The film is currrently an early contendor for Latvia’s Best Foreign Language Film for the 87th Annual Academy Awards.
Directed and written by Latvian animator Signe Baumane, Rocks in My Pockets focuses on how Baumane and five women in her family handle depression. Their stories are told with visual metaphors and surreal images. Keep reading to learn about Sensini’s scoring style and experiences while working on Rocks in My Pockets.
Rocks In My Pockets is getting a lot of potential Oscar buzz, what do you think about this?
It’s amazing, of course! It’s one of the 84 movies running for Best Foreign Film and at the same time also one of the 20 movies selected for the Best Animation category, and the Academy has just announced that the soundtrack has been included in the 114 scores in contention for the prize. As an animation movie, Rocks in my Pockets is running with giants like Disney and Dreamworks movies with a big budget (and scores with big orchestras). It’s sort of funny to see our little independent movie compete with them, but after all I really think that Rocks in my Pockets does deserve this kind of recognition. It’s a traditional animation movie, entirely hand-drawn (no CGI or computer images were used) and hand-made (just like the soundtrack). It’s a brave point of view on a really serious topic, depression and mental illness.
What was the hardest part about scoring Rocks In My Pockets?
The director’s voiceover (a great interpretation of hers) is present from start to finish, so the difficult thing in this case was trying to compose music on frequencies that wouldn’t disturb the sound of her voice. Another obstacle was using themes/orchestration in order to enhance the storytelling without distracting the audience.
Where did you get the inspiration for the tone of this soundtrack?
I got inspiration for this soundtrack from the stunning visuals and voiceover acting of the director. A “Funny Film about Depression”, is quite an impossible mission in itself, and the risk of a bad musical choice was just around the corner… For example, the use of a tone too light or “cartoony” in the most amusing scenes and the over scoring on dramatic ones could have led to disaster. I let the voice guide me in finding the right tone in each cue, seeing it as the main melody, so I had to underscore that with various countermelodies.
There is many dramatic scenes in Rocks In My Pockets, but the score makes it feel a little lighter at times. Was this intentional?
Yes, it was intentional. This is the whole point of the movie, not making a joke out of such a serious topic, but trying to explain that depression and mental illness could be considered a part of life. Maybe something we do not want to celebrate, but something we can deal with and that can even help us understand other’s issues and struggles. This film has a brave and amazing view on life, and I think it’s really original and something worth sharing. Life itself has the equal combination of light and darkness and everything contributes to our growth as human beings. It’s exactly what I want to express with my music (and not just in this movie).
This is one of your first animated films, is it a lot different than scoring live action?
I’ll never stop saying that animation filmmakers are amazing. They’re usually so imaginative and so caring about their projects, at times more than other directors. When you work on an animated project you feel you are part of a family. From a musical point of view, you may have a little bit more freedom to experiment with new ideas, but it really depends on the director and movie. I’ve tried to score this movie as it was live action in some parts: somehow knowing that it was a true story and that the characters were real people was more predominant than the fact that the visual medium was animation.
What direction did the director, Signe Baumane give you when you initially started? Meaning what was the main goal for her in terms of the soundtrack?
One of the first things we did when we started thinking about the score was to have a brainstorming session about past soundtracks we really enjoyed. I remember in our first phone call, we talked about the soundtrack for Sherlock Holmes by Hans Zimmer, and found that it was one of our favourites because it was so creative and has a really innovative use of orchestration and instruments. We agreed we wanted to keep it a “small” orchestration and use instruments in an original way. We also decided to have something ethnic in the score, hence the inclusion of the Kokle (a beautiful string instrument from the Latvian tradition) because part of the movie is set in Latvia. The main goal was to lead the audience by hand into this beautiful story, and help their immersion in the movie in a good way.
There is a lot of the piano in this score. Is that your go to instrument? If not, what do you find yourself playing reoccurring in your film scores?
Flute and piano are my two main instruments. They are the ones I usually record myself in the projects I score. The piano is the instrument on which I compose a lot, it is so rich that it helps one imagine the sound of a full orchestra or of different orchestral sections. I tend not to use an instrument in a score just because I like it, unless it is strictly necessary to the movie. In this case, I thought the piano was the best choice to help fix the harmony and for one of the main themes, “Anna’s Theme”. Recently, I realized I have used a lot of cello in my previous scores, it is such a beautiful instrument and can be really useful in a lot of different situations.
Who is your favourite character in the film?
Irbe, probably because she is a musician like myself. I wrote one of my favourite cues in this film for her.
When you found out you got the job of scoring this film, how long did you have to experiment with instruments/sounds before you actually had to start?
I usually try to do my research and to experiment with sounds before I sign any contract. To me it is really important to present a demo (usually more than one) to the director which expresses both my point of view on the film and the result of my research. So for about four or five days I researched Latvian and Eastern Europe music because I felt that in terms of feelings and orchestration this sound was the right one. I listened to different kinds of music from different centuries, classical composers, film composers and popular music too. Then I composed two demos for two different scenes and I got the job.
This film is highly musical. How many minutes did you end of scoring?
More than an hour of music!
What would you like viewers to take away from the film?
You should ask Signe Baumane (the director) about this, I’ll just give you my humble opinion.
I think this film is a great start for “global conversations” about the things that scare us, in this particular case depression and mental illness. We live in a global society where we think that medication can solve anything and cure any illness. To me, this is a way of seeing the reality too easy and naive. The real deal is taking the journey of your life, questioning ourselves about who we are and especially who we want to be or become, without forgetting that life is full of light and darkness all at the very same time.
Listen to an album preview below:
Read more at http://agentsofgeek.com/2014/12/composer-kristian-sensini-talks-rocks-in-my-pockets/#J17ROvWwTQcJFAlW.99
-
“Rocks In my Pockets” Interview on Variety
Interview with director Signe Baumane with a nice mention about my music
"Days away from “Rocks in my Pockets” first festival submission, the film remained scoreless. While Baumane had initially contracted a New York musician whose work she adored, the performer hadn’t captured the complex emotion and playfulness she’s anticipated. Friend and animator Bill Plimpton suggested she contact composer Kristian Sensini. After listening to a demo of Sensini’s work, she reached out to him.
“I sent three minutes of the film. Within twelve hours he sent back the most amazing, stunning work,” said Bauman. “Then five minutes later he sent another, then he sent one more version five minutes after that. He was excited and had such a great work ethic, he was really able to hear the humor, the lightness – he got what I was going after the whole time.”
