Meet Kaz Boyle: Composing Music for Films

Kaz (Kazimir) Boyle

After completing his Bachelor of Music in Composition at the U of I, Kaz (Kazimir) Boyle attended the University of Southern California graduate program in Advanced Film and Television Scoring, studying under such legends as Elmer Bernstein, David Raksin and Christopher Young. While at USC Kazimir met many film students and soon gained a reputation as a trusted musical collaborator.

Kaz then joined Hans Zimmer's team at Media Ventures. His experience in Zimmer's tech world led to several opportunities working for James Newton Howard.

In 2002 Kazimir opened Flash Music, LLC, his own studio in Hollywood. Since then he has been busy with myriad freelance projects: independent feature films, cable television MOWs, television commercials and cutting-edge short films. 

You went to USC attending their master’s program in advanced film & television scoring. What was your main take-away from that experience?

I’m most grateful for the people I met while studying at USC. There were several film students, as well as my fellow composers who have remained friends and collaborators to this day.

What led you to USC in the first place? i.e. The move from a love of music composition to a love of scoring music for film and television?

I’d already loved the idea of composing specifically for film, and I knew that a move to Los Angeles would be essential to make that happen. USC was a great facilitator – I was able to make the move with a plan in place for my first year.

You created the score for OLD FASHIONED, along with more than 15 other films. How do you begin a collaboration with a director? What do you discuss?

This is an excellent question, and the answer is specific to the director and the film. Many projects, like OLD FASHIONED are first time collaborations, and it takes a lot of listening, a lot of asking questions, and a healthy amount of trial and error. In an ideal situation, the director walks that line of knowing what he or she wants the music to DO for the film, but open to my creative approach for what the music will BE.

How about your experience with OLD FASHIONED, specifically – what made this project different and/or appealing?

OLD FASHIONED was one of these felicitous collaborations. Rik ADORES music, and its role in the film was exceptionally important. Music was built into the script, and features heavily in many scenes. Before I began working with him, Rik already had a playlist of music that inspired him, and reflected the beautiful story and the characters Amber and Clay. He had ideas for instruments he felt captured moments and the setting. Clearly music was not a weak spot in his director’s tool belt, yet he was open to listening thoughtfully to new ideas. He trusted me, and appreciated experimentation.

You’ve also done lots of additional musical arrangements for other film projects. Can you describe the networking that results in receiving such assignments?

So many of my opportunities I can trace back to a combination of luck, and hard work. I’ve never been good at “networking” when it hasn’t been organic. I have, however, tried very hard to say yes to everything, and that can open some surprising doors. Once a door is open, I do the best work I can, and that breeds successful repeat collaboration as well as word of mouth recommendations.

You’ve worked with Elmer Bernstein, Hans Zimmer and Quincy Jones. That’s quite a wide range of composers/arrangers/musicians! Is that sort of range normal for folks in the industry?

I don’t think there is a “normal” anything in the world of film music. Every composer has a different story about their start in the business, the musical gifts they bring to their work, and the folks that helped them along the way. That said, I’m very aware that my opportunities to work for the legends that I have, has been an extremely rare blessing.

You’ve also worked for quite a diverse group of organizations, including Pushing Daisies (ABC), Hallmark Entertainment, ESPN, the History Channel and HBO. Is that range also normal for someone in the industry?

I do feel that if you do put in enough years, get a healthy dose of the aforementioned luck, and say yes to whatever project comes you – eventually many composers do build up an interesting resume of production companies and channels that have featured their work.

What made you decide to open up your own studio, Flash Music LLC?

Film scoring is primarily a freelance, project-based career. Though I often wish I could work for a company that paid me to show up 9-to-5 to compose music, much of my work has had to be entrepreneurial. Starting Flash Music allowed me to formalize and add structure to how I go about business part of my career.

Do you have any words of wisdom or advice for anyone interested in pursuing a career in scoring music for film?

In no particular order: Learn the craft. Learn about story, about character. Watch movies. Listen to movies. Listen to as much music – soundtrack and not – as you can. Know more than enough about the music-making technology to facilitate your creativity. Be a people person - this career is all about working with many other people to tell stories. Be prepared to balance your assured awareness of your genius with crippling self-doubt. Find opportunities to actually write music to picture – failing and getting up again is essential. If you’re able to identify and nourish a music that is innately your own, that is so much more valuable than being able to sound like a clone of some top tier film composer. Be savvy about finances. Try (it’s hard but try) to find balance in your life – work and family. And I’ll sound like a broken record here, but SAY YES!

Looking back, what particular skills/experiences contributed to your success?

My undergraduate study at the University of Illinois introduced me to experimental music, which I feel contributes to my open mindedness and willingness to experiment. My work under Hans Zimmer taught me many skills, particularly electronic music production. My upbringing instilled in me the value of being kind, honest, and friendly.

Who are three of your favorite musicians/composers, and why?

This is a tough one, so I’ll just stick with film composers and list the first three that come into my head. First is John Williams. His mastery of the orchestra is unparalleled. His brilliant thematic writing combined with his narrative approach to a scene sets the bar for every other composer. Next is Ennio Morricone. Morricone has written some of the hands-down most gorgeous melodies of all time. Finally, I’m going to say Hans Zimmer. I have come to appreciate so many elements of his genius. Zimmer is an envelope pusher who strives to discover a story’s “big idea”. His control of sound and love of experimentation has allowed him to reinvent himself musically many times over.

Is there anything else you’d like to mention?

Thank you so much for this opportunity, and the great variety of questions. It’s not often that I take time to put my ideas and experiences into words, and it allowed me to be mindful of my past, as well as my present.

You can find out more information on Kaz, via his website.