The below is an interview with Science Friction done by the British Indywood.co.uk  The guys asked me to put it up on the site, so here it is...  All of it.

Who are you and where on this planet are you from ?

We are Science Friction Scoring / Sound Design. Originally we hailed from The Planet Muzzak , where every "being" was easily creating music on computers and programs. We wanted to create original , emotional music using music instruments , so we came down to The Planet Earth  - only to find out that Earthlings do a lot of Muzzak listening!

( laughs )

My name is George Martindell , and I am one half  of  "The Entity"  that is known as  Science Friction . My partner in this musical scoring duo is Frank Sonsini. We are both from America in a town called Marlton located in the beautiful wooded part of southern New Jersey.

We compose our music entirely utilizing electronic and acoustic instruments. Frank writes and composes music on synthesizers, guitar-synth , guitar , and bass guitar. With these instruments, especially the guitar-synth , Frank can compose whole string sections and horn sections , for example. He also can play anything from, quiet flute, to , metal guitar. Our synthesizer equipment list keeps growing, as does the direction of our  music.

I am the percussive half of Science Friction. I incorporate and compose music using a myriad of electronic drum sets . With these versatile electronic drums, including acoustic percussion such as cymbals , chimes, wood blocks , and other various acoustic items , I use four different brains that store sound banks that I create in order to mix - as an example - orchestral percussion with African hand drums . I then play these drums as if they were a drum kit. By employing all these drums, I can obtain all these sounds by hitting the pads that I designate certain sounds to - all at once ! Often times the sounds are just that - waves of sound, that I rhythmically create beats with…sometimes sounding like synthesizers!

Frank is our engineer and recording specialist, as I am our music’s director and promoter.

We are Yin and Yang when it comes to creating and composing our music.

As to “Where we come from ,“ it all depends on WHO you ask. Most people when they hear our music for the first time either think we are, "From another planet “, “the bowels of Hell “, “an insane asylum “, or just plain silly and off our nut! All of which are compliments of course! 

( laughs )

 How did you get into scoring and sound  design ?

Well, it started out that Frank and I were doing the original hard rock band thing a few years back We were playing clubs and shopping demos. The frustration of keeping a band together was overwhelming .We had come close to being signed and worked our collective arses off touring the club circuit for some years.

Both of us are into the dark and strange side of things in life and our music had taken a bizarre course. Myself being into old Peter Jackson films and Ralph Bakshi animation , I had noticed that when played along with films, our new instrumental music just  jelled  along with just about everything we watched - horror movies , science fiction , animation….you name it , and it fit !

I used to work for a company here in the U.S. called NFL Films. They are the “ official “ filmmakers of America’s football league. In their off season , they develop non-football related TV documentaries , music videos , and anything to keep themselves submerged in their art.

One day, I was at a coffee café and ran into the head of NFL Films. It had been a while since I seen him , as he was familiar with our music from years back. He asked me what we were doing musically, and I told him that we were writing this weird  instrumental music that is, "Pretty creepy.“

He told me to get to him our music as soon as possible, as he was working on a TNT Network production starring the likes of John Carpenter, Marilyn Manson , author Poppy Z. Brite, and various professors and historians. It was titled, “Faces of Evil ”, and was narrated by Malcolm McDowell. He told me that it was a documentary on the realities of evil throughout the history of mankind.

Pretty dark material for prime time television !

Alas, so it began….

For the people out there that don’t fully understand, can you talk about what scoring a movie involves ?

It involves really being an important part of the process , but at the same time , not overshadowing or giving  off the wrong vibe.   In other words, composers have to emote how the film is trying to make the viewer feel.  All the emotional elements have to be there: silly , happy , sad , angry , tense , evil, spacey , and the composer has to create those moments to blend together with the film - all  without stepping on what the film and it’s scenes are created to make you feel.

Obviously, if you are doing a cartoon for young toddlers, you can’t have a dark and brooding score filled with chanting and such because you will scare the bullocks off of them! ( laughing )

Can you talk about what a sound designer does and what impact this has on films and TV shows ?

It’s funny, because everyone that is a friend of mine that sees a movie , the first question I ask them is , “ How was the music?“   They reply, “ I don’t really remember, I wasn’t paying attention. “ 

That is when scoring  really works well. When the music is so well written it conjures up all the things that you are supposed to feel while seeing a movie -the emotions ,the action, the sadness…..very important !

Now, if the music does not do this and is annoying, or worse yet - really bad, it really can damage a film. It’s not doing its job …so too speak. The music needs to reach one emotionally and dynamically, but in it’s own aural way.

The sound design or Foley as it’s called, is also very important when it comes to the sound effects of a film or production. Imagine having a screaming ghost segment with the sound of a yelping puppy , not good ! But, if one was to mix the puppy sound combined with the sound of  tea kettle hissing , you may get a great screaming ghost sound!  

Now that’s good sound design !

As we often say to interested producers , “ Even silent films had music !”   Back in those days, in that medium , the music was the backbone of those movies and it really helped carry the watcher along from scene to scene.  So yes, music is very important and should be very impactful !

What projects have you done that you are most proud of ?

For us, I would have to say the documentary I was just talking about, “ Faces of Evil. “ It garnered rave reviews from the folks at The Hollywood Reporter and Entertainment Magazine, and was aired five times on the TNT Network here in America. It also helps that it stirred up some controversy ! 

( laughs )

It came on all five times before the Al Pacino movie, “ Devil’s Advocate “, which is always a good slot to be placed in !It was also a so memorable because we got a rare chance to have our music combined with the music of the late , great Bernard Herrmann.. The production company we worked with acquired the ‘ rights ‘ of some of Mr. Herrmann’s music that he had never recorded through the Herrmann family. Of course, he is one of my favourite composers of all time, and we were truly excited too say the least ! 

In this production, there also included interviews with John Carpenter and Marilyn Manson, and our music was combined with both of their music as well ! 

It also doesn’t hurt that it was our first professional production.

We are proud of all the productions we have done so far. Our first Indie Film was a blast as it was an H.P. Lovecraft short story, “The Terrible Old Man”. This was certainly a case were in which the music was integral to the film. It’s still being played on Canadian television airing on  BRAVO ! and  The Imagination Station. 

Our work scoring , “Dr. Shroud – Vampire Killer“  , an animated series by the very talented Robert Feldman Productions , is very satisfying for me especially , as I adore animation. We have completed a DVD with him , and it’s currently being looked at by some very important Hollywood folks as we speak !

What projects have you done that have been the most challenging and why ?

Well , so far things have been somewhat easy as far as that goes. Although , we are in the running for what may be a production requiring “ surf guitar “ rock music and  50’s , early 60’s sounding stuff, so that will be a challenge as we have not scored music in that style yet. We have composed  tracks  that are in that vein, but never a whole score.

 Your music has been used in Taradise: The Tara Reid travel program on the E ! Entertainment Channel. How did this come about ?

One way that we shop our music is through a publishing company. We have been with this company for a few years now, and they have great connections in television. We did a bunch of music based on different ethnic sounds and styles. The production company that did the Tara Reid show was looking for Spanish /nylon string guitar / percussive music as she was in Spain for an episode. They heard our music through our excellent publishers , as they were the ones who helped place our music with that particular production You have to cover every angle , and use whatever avenues it takes to get one’s music heard. We have written volumes of music just for them in various styles - such as horror , science fiction , ethnic , and a music sampler of  just about every style we compose.

 What projects are you working on now or in the near future ?

Currently, we are waiting to hear again from Robert Feldman Productions , as he has already begun a new animated series he wants us to score. There is some very strong interest in Feldman’s productions by some very important production companies, so we look forward to that!  Also, there are a couple of  Indie horror films we are waiting to go into post - production so we can start scoring for those as well.

 When you are involved in working on a production , how involved do you two get ? 

Well, that depends on the “ creator “ of the film or production. We really enjoy suggesting what styles  of music should be used once we see a production. And more often than not, they enjoy our input.

Sometimes the filmmakers  know  what they want to hear before we become a part of the picture. There have been times where the producer has already heard a track of our music, and requests that style and genre of music.  Either way is fine with us. We are quite easy to work with … considering that we are musicians ! 

(laughs )

Other than films and television , what other aspects of sound does your company get involved in ?

As I said earlier, we were originally involved in original rock music. Our favourite  rock format is what they call, “Progressive Rock.” We have two side projects that we write music and create CDs for.

 " Exploding Monsters,“ is a project in which Frank and I incorporate ‘electronic music’ with heavy electronic percussion and guitar/ guitar synth….very, very, dark stuff. Also included throughout these pieces of music is our, “sound design” as well. We have a debut CD available, and a second CD that is currently in it’s  final  mix  phase. 

On the second project, “ Aliens, Ghosts and Demons “, Frank and I collaborate with our old friend Steve Siers aka Quad . In this project, we incorporate Frank on rock guitar and bass, myself on acoustic drum set, and Quad on his,  "wall “ of synthesizers. This would be considered more instrumental,“Prog Rock. “ We are currently working on releasing a CD of this project as well.

 Do you have any advise for anyone wanting to get into the music scoring business ?

Yes…never give up and don’t let them get you down ! This industry is a dog eat dog struggle, but at the same time it’s great to work with such great and creative people who are clawing along with their visions and goals as well. 

Work every avenue that is available. With the advent of the Internet, the world is literally at one’s fingertips. Reach out and talk to others in this industry and let them know that you exist and that you have music that you want them to hear.

Don’t let anyone try and squash your dreams and desires, as they are life affirming and powerful.

But most importantly, create music that is unique and original - music that has your own DNA created into it .

It’s quite electrifying when both the film and music worlds collide !

George Martindell & Frank Sonsini