By Mateo Latosa Library Music
John's original intent was to score THB with library music, as he didn't have a composer. Once Cesar and I came on board, he dropped that idea and used our music exclusively (except for the occasional trailer). By the time THB 2.0 rolled around, John not only had all my new cues to use, but had our entire set of cues from season one to use as library music.
That is one reason why our credit remained the same in season two. Cesar's contributions to season one were ever-present in season two. In fact some cu
es recorded for season one went unused there, until finally being placed in season two. Also, we'd made a decision early on to credit all our THB compositions as Gallegos/Latosa. This decision continued into season two, with all THB cues copyrighted to both of us.
Into the Black
As THB 2.0 aired, it became increasingly difficult to schedule studio time that worked for all three of us. John became worried that I wouldn't have time to compose and record the music for the final scene--the consumption of the house (by dark matter) until all that's left is a single room with the remaining characters crowded in the doorway looking out into the black.
He was right to worry. That last recording session never took place. But, unbelievably, I had recorded an extra piece that I called, "Into Darkness and Awareness," that I had sent to John weeks before. He had downloaded it, unzipped it, filed it and forgotten about it--UNHEARD!
When I told him that the final session wasn't going to happen, he was bummed out to say the least. Then I mentioned that, for the Into the Black sequence, I had planned to do a longer version of "Into Darkness and Awareness". He didn't remember that piece and asked its exact length. It took a few minutes, but he found it and heard it for the first time...and amazingly the piece fit perfectly. And with that bit of luck, my work for THB 2.0 was finished.
From The House Between to Under the Eagle and Back Again!
During the scoring of THB 2.0, I was asked to score some transitions between scene changes for the London engagement of the "Under the Eagle," the new work from playwright, Andrew Cartmel. I chose to expand upon a short theme I'd written for THB 2.0 called "Evil Bill". It was a cue that was just begging for development.
I recorded three new versions: one with synth and piano, one with just synth, and one with just acoustic guitar. I sent these to London, but due to their late arrival they went unused. So I sent them to John for use in THB 2.0. Full circle!
FINAL NOTE: The Long-Distance Crew Members
Cesar and I are often asked what it was like to be on the crew of The House Between. The question usually implies that we know the actors and other crewmembers. Sadly, we really don't. We have never been on the set--or in North Carolina for that matter! Someday we hope to meet everyone who was involved in this unique, dare I say brazen, production. It's been an honor and a lot of fun. See you in THB 3.0!
That is one reason why our credit remained the same in season two. Cesar's contributions to season one were ever-present in season two. In fact some cu
es recorded for season one went unused there, until finally being placed in season two. Also, we'd made a decision early on to credit all our THB compositions as Gallegos/Latosa. This decision continued into season two, with all THB cues copyrighted to both of us.Into the Black
As THB 2.0 aired, it became increasingly difficult to schedule studio time that worked for all three of us. John became worried that I wouldn't have time to compose and record the music for the final scene--the consumption of the house (by dark matter) until all that's left is a single room with the remaining characters crowded in the doorway looking out into the black.
He was right to worry. That last recording session never took place. But, unbelievably, I had recorded an extra piece that I called, "Into Darkness and Awareness," that I had sent to John weeks before. He had downloaded it, unzipped it, filed it and forgotten about it--UNHEARD!When I told him that the final session wasn't going to happen, he was bummed out to say the least. Then I mentioned that, for the Into the Black sequence, I had planned to do a longer version of "Into Darkness and Awareness". He didn't remember that piece and asked its exact length. It took a few minutes, but he found it and heard it for the first time...and amazingly the piece fit perfectly. And with that bit of luck, my work for THB 2.0 was finished.
From The House Between to Under the Eagle and Back Again! During the scoring of THB 2.0, I was asked to score some transitions between scene changes for the London engagement of the "Under the Eagle," the new work from playwright, Andrew Cartmel. I chose to expand upon a short theme I'd written for THB 2.0 called "Evil Bill". It was a cue that was just begging for development.
I recorded three new versions: one with synth and piano, one with just synth, and one with just acoustic guitar. I sent these to London, but due to their late arrival they went unused. So I sent them to John for use in THB 2.0. Full circle!
FINAL NOTE: The Long-Distance Crew Members
Cesar and I are often asked what it was like to be on the crew of The House Between. The question usually implies that we know the actors and other crewmembers. Sadly, we really don't. We have never been on the set--or in North Carolina for that matter! Someday we hope to meet everyone who was involved in this unique, dare I say brazen, production. It's been an honor and a lot of fun. See you in THB 3.0!
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