I met with Michael before he even started shooting. I always try to start as early as possible. What was the creative process like while writing your score for Michael Bay’s final Transformers film, Transformers: The Last Knight? You’ve composed scores for many hit films, including the entirety of Michael Bay’s Transformers series.
After a while I started helping compose cues on their films and eventually began scoring my own projects. I learned so much about this business from Harry and Hans, they were both incredibly supportive. I got a job as a runner there, eventually got a job with Harry Gregson-Williams. One of those studios belonged to Hans Zimmer. Initially I thought perhaps I could work as a recording engineer, so after school I started reaching out to various studios in Los Angeles. I actually went to UC Berkeley to study computer science, but after a year realized that wasn’t for me so I switched to a music major.
I’ve loved music and movies since I was very young, I played a few different musical instruments as a kid, but it wasn’t until after college that I starting thinking seriously about a career in music. Tell me a little bit more about you and your background as a composer. Critically acclaimed composer Steve Jablonsky’swork can be heard in many of the biggest television shows and films in the past decade: A Nightmare on Elm Street, Keanu, Battleship, Deepwater Horizon, Gangster Squad, Desperate Housewives, and the entirety of the Transformers series are just a few of the titles he’s written music for.
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