But Milk is Important Release

Finally! 3 Years, 21 international awards and 100+ festivals later, ‘But Milk Is Important’ (a short film I had so much fun doing all of the music for) has been released by two of my favourite people (and film’s creators) Eirik Grønmo Bjørnsen and Anna Mantzaris on Vimeo and is already a “Vimeo Staff Pick” on the front page of the website! Check it out!


Phil Brookes Composer Showreel

My new composer showreel includes footage from the most recent films and ad campaigns I’ve composed for, including international multi award winning animation But Milk Is Important, International award winning film Three’s A Crowd and the short series by Amphi Produktion for the awesome equality awareness of Crossing Boarders!

Two Audience Awards and Lots of New Festivals!

Great News! 

(The following is taken from http://butmilkisimportant.blogspot.co.uk/)

But Milk is Important (with my music) won it’s 11th and 12th award this weekend!!  The first one was at Sweaty Eyeballs in Baltimore, US! The film tied with “Futon” for the Audience Choice Award!
The second was at Aesthetica Short Film Festival in UK where the film won People’s Choice Award! 

Thank you to both audiences!!!

The Film is also chosen for a couple of new festivals:

Sommets du cinéma d’animation, Montreal and Quebec City, Canada 21 Nov – 1 Dec

Animated Dreams, Tallin, Estonia 27 Nov – 1 Dec 

Animateka, Ljubljana, Slovenia 2 – 8 Dec

Leeds International Film Festival, Leeds, UK 6 – 21 Nov

Expotoons, Buenos Aires, Argentina 13 – 15 Nov

International Film Festival Etiuda&Anima, Krakow, Poland 22 – 28 Dec

Kort, Sandnes, Norway 14 – 17 Nov

And it was also screened at Images en Vues, Montreal, and
Uppsala International Film Festival, Sweden

I haven’t blogged in months because I’ve been really working hard on the hard work Anna & Eirik’s been working hard on.  That’s right hard on.  I’m really excited.  Just look at this still from But Milk Is Important!

I’m excited because I’ve seen a lot of the finished masterpiece they’ve been creating and its breath taking.  Seeing something from storyboard, to modelling, to movement and to a living, breathing (almost) final production is spellbinding enough… but when it’s stop time animation in the hands of Anna and Eirik.  Holy shit.  It’s awesome!

The working relationship I have with these talented people in Norway stems from a friendship formed with Eirik in the U.K before he flew home to pursue this badass project with Anna.  Now, after months of sending each other work through the googles I’m managing to capture the dark, mysterious atmosphere they’ve created for their sometimes frightening/sometimes funny/always fascinating characters. 

Eirik suggested to me not to shy away from playing quite a bit of piano for this film after I used it in our last adventure and in using it again to write a large part of this score I can certainly see its attraction.  The piano evokes parts of me when I play it that other instruments can’t get to.  The isolation and loneliness I relate to when I watch aspects of the animation are translated so fluently through the keys and is a testament to me how human the instrument can feel.  Another important aspect of the composition in this film is back masking.  There’s a lot of tension and unexplainable occurrences that back masking pianos, cymbals and synthesized sounds can reflect well against.  It’s a suggestion that things aren’t quite as they seem and a sweet way to hide satanic messages (joke).  It’s an opposite, a reverse to the norm and a representation of the emotional themes haunting our main character.  Talking of themes, I also felt that the characters with their own very specific characteristics deserved their own very specific music (something Ennio Morricone stamped into me as a young poncho wearing, gun toting tot whilst my brother would watch the spaghetti westerns).  I think it’s a valid method in such a mysterious film where character’s actions speak louder than their words.

So I seriously suggest you check out Anna and Eirik’s blog again as they constantly update it with sweet developments, especially as the filming is now complete and they’re in the process of post production.  At this stage I’m finely tuning things like the timing of the music to accommodate any scene extensions and artistic direction from the guys whilst they work harder and harder to achieve the perfection that is But Milk Is Important.

It’s difficult to say you’ve been hard at work when you enjoy making music.  It’s not like I’m building the Sistine chapel or surgeorizing somebody’s frontal lobe.  I’m also not building characters from raw material and an outdoor set for an amazing stop time animated film like Eirik and Anna are for “But Milk Is Important”.

When I’m sat in my chair in front of keyboards and guitars, trying to get into the mindset of these awesome characters, Eirik and Anna are in Norway creating huge structures to animate a 3 second scene of film.  Then again it’s not to say that the music I’m making comes out in real-time live at the Apollo like James Brown.  I took about six hours to create about thirty seconds the other day – that’s the process of elimination I torture myself through to make sure my shit is half as good as the amazing film these guys are making.  From previous experience on “The Crow That Wore a Suit and Worked In An Office” I know I have to theoretically create another character myself, to add what I can to an already well thought out, laboured piece of art.  At the moment my tried and tested method of madness is to accompany the people and creatures with their own themes, that intertwine and morph into each other as a story unfolds.

Go and checkout what Anna and Eirik are upto on their own blog about But Milk Is Important.