Film composer Evan Hodges compares working with the Seaboard to cooking a feast.
“It’s inspiring as a composer to not just sit down, pull a piano patch, and ding something out in that cold, systematic way. When you compose with the Seaboard it’s like you’re in a kitchen and all these pots are on the boil, and you’re constantly tasting this and tasting that and saying: Let’s put a little more garlic in this one, let’s put more salt here.”
In our latest ROLI Soundhive Session, the Atlanta-based composer takes us through a score he’s working on with the Seaboard RISE, Equator, SWAM and Eventide pedal board. It’s a psychological thriller called Adair Lake. This is his latest project with director Raymond Wood, who’s developed an unusual process that gives Evan a strong influence over the film. The director commissions the score based on a draft script, then edits the film to fit it.
The Seaboard and Equator are instrumental to this process, allowing Evan to summon moods and effects that play to scenes and characters.
The Seaboard has become an essential composition tool for Evan, featuring in over a dozen scores including:
Aliyah: A feature film about the persecution of Ukrainian Jews told through the story of dance.
Kaya: A feature film about a woman trying to find her younger sister in the desert of New Mexico. The sound is a “mixture of western, grit, and modern electronic”.
Imposter: A score for a pre-production thriller about a mentally disturbed fan that kidnaps a movie star that they are infatuated with. The dark score blends minimal orchestral instrumentation, with lush electronic undertones.
Jackill: a short comedy that follows two roommates in New York who befriend a hamster. The score is light and whimsical, to reflect the mood of the film.