I’m Rory, a creative interested in the relationship between image and sound.
Coming from a background in photography, graphic design and creative direction, I approach song selection as part of the narrative architecture, focusing on context, pacing and feeling rather than genre alone.
I offer freelance music research and alt-track support with a curated portfolio of speculative supervision projects.
Rescores
(Film, 2021) Timeless lyrical counterpoint vs. subtle instrumental support.
In this film, Joachim Trier ensured a range of emotional interpretations were always possible. Both of my approaches reflect that. The first makes us of the largely dialogue-free sound design and is led by two contrasting lyrical styles revealing Julie’s complex state-of-mind, the second is an instrumental choice, which provides tonal reinforcement to the scene driven by its structured build in both emotion and momentum.
This dialogue-heavy, memory-fragmented cut from the Safdie brothers’ Good Time unfolds inside a car, with Ray and his bloodied face in the back telling Connie (Robert Pattinson) about the night before. Tight, unconventional framing and quick cuts to Ray’s anxious expressions are used to build pace, as fragments from his flashback cut abruptly across the screen.
My approach here is not to compete with Daniel Lopatin’s original score. Instead I explore the emotional story it tells, and show how music can be used to alter perspective and ultimately change how the viewer responds to what is an unavoidably tense scene.
(Film, 2017) Building tension in a scene with dense and complex sound design.
(Ad, 2023) Letting voiceover carry weight, while the music focuses on balancing optimism with reverence.
The original campaign is emotionally strong with personal, real-world imagery and is led by a powerful voiceover. This rescore approach steps back, allowing the voiceover to carry the weight, while the music reinforces Cancer Research UK’s more modern and optimistic tone. The focus was on finding cues that feel authentic and distinctive, sit comfortably in a commercial context, keep pace with the campaign’s dynamic editing and use familiar musical language without veering into a generic sound.
Concepts
An organic and systems-based approach to expansive musical world-building.
Dune survived its David Lynch detour because Herbert’s timeless story imagined a distant future which refused technology. Rather than leaning on established blockbuster sonics, this rescore concept imagines Dune through a sonic language grounded in organic sound and system-driven processes characteristic of Herbert’s world-building, with contemporary elements providing a subtle sci-fi edge.
A three part musical refinement of an iconic racing video game.
Here, the sound of racing video game series, Gran Turismo, evolves through three distinct stages: a refined opening reinterpreted for the modern day, a controlled and electronically driven progression defined by its restraint, and finally a propulsive, future-focused conclusion built on pressure and tension.