Coming Home

The Old Man _ The Break In

His dream

The original score to the short film titled 'The Time We Met'.

Watch the trailer here:
https://youtu.be/itUy9O_ajwY?si=DaLTFCoVoA4izmg8

Love Is

Montage Sequence

A Passionate Kiss Reprise

A Passionate Kiss

Simple As That

An idiomatic, charismatic and vigorous score that stomps in the midst of conventions typical of traditional silent film music composed in the late 20th century, mimicking the style and genre of silent films.

Another Day, Another Disaster

Composed & produced by Nathan Pfeiffer. Music content copyrighted.

Remnant

Jack Ludik was born in the city of Cape Town, South Africa. Ever since he was a little child, he was fascinated with music and was drawn towards the old piano sitting in his lounge. However, he never actively pursued this interest with piano lessons and learning music theory. Until he arrived at the film school of Afda.
 
At this point in time, during his first year at the institution, he attended a course titled Media Music Production. This course involved composing the score for a film. And he was instantly hooked.
 
Since then he has worked on numerous student films as well as work outside of the AFDA institution for two aspiring production companies, namely Dutch Pound and Lemon Life Cinematics. 
 
He was the assistant to the in-house composer Edward King of Sound Surgeon Studios but now finds himself being the in-house composer of Rainbow Wood Studios in Bath, England.  Additionally, he is on the composer roster for Honey Moon Studios.
 
He has never looked back since he chose to compose scores for film and is confident that he is budding into a well rounded composer. Yet at the same time acknowledges that he is still very new to the game and is always ready to learn!

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

Hi guys.

I’m Yoshiki from Japan.

I'm 28 years old now and I began to learn musical composition without any musical experiences when I was 23.

My ultimate objective is to become a professional film score composer in Hollywood.

New tracks tagged #Filmscore