The first film that I worked on with Tom Bezucha was The Family Stone in 2005. We had an immediate bond. He is one of the warmest, kindest people you could ever hope to work with and I was thrilled when he called me for Let Him Go. We hadn’t worked together since Monte Carlo in 2011, so I was excited to see how he had approached Larry Watson’s novel. Tom’s directorial storytelling is always so thoughtful, and he has a wonderful knack for drawing out complex characters so seamlessly for us as viewers.

Let Him Go offered me the opportunity to score my first Western which I am so grateful for. It happens to be one of my favorite genres of film, and while Westerns have quite a daunting legacy, I was delighted to take a swing at one of my own. I started out by recording some material on solo piano which allowed the feeling of intimacy, but also gave me the ability to try to evoke the wide-open plains that surrounded the story. By using a very small orchestra of strings, piano, guitar, bass, and simple hand percussion, I hope that I was able to capture the story’s themes surrounding the strength of family bonds against an iconic American backdrop.