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Vincent Gillioz was raised in the French speaking city of Geneva, Switzerland. A recipient of several scholarships during his studies at Berklee College of Music in Boston, he earned a dual bachelor's degree - Summa Cum Laude - in Film Scoring & Performance. Upon graduation from Berklee, Vincent returned to Europe to study composition and orchestration at the Geneva Conservatory of Music where he was awarded the Highest Distinctions; the first in his curriculum to receive such an honor in 15 years.

Shortly after Vincent relocated to Los Angeles, he scored his first feature film and met one of his favorite composers, Golden Globe-nominee, Christopher Young (Spiderman 3, Drag Me to Hell, The Exorcism Of Emily Rose, Runaway Jury, The Grudge, The Shipping News). Mr. Young was very impressed and recommended Vincent for the Sundance Composers Lab.

Vincent was then selected for the Sundance Institute, where he had the opportunity to work under the supervision of noted film composers Edward Shearmur (Sky Captain & The World Of Tomorrow), Rolfe Kent (Sideways), George S. Clinton (Austin Power's Trilogy), Mark Isham (Crash), and Thomas Newman (American Beauty), among others. Since then Vincent has been working without pause, scoring no less than 35 feature films in every genre, and high profile commercials for Rolex and Roger Federer. Vincent is very proud to have written the music to They that was selected for the Golden Camera competition in Cannes. His music has been rewarded by 9 best score awards so far.

When a composer conveys the filmmaker's vision, the collaboration has been successful. Vincent firmly believes that a solid knowledge and understanding of cinema is essential for scoring a movie and communicating successfully with the director. To that end, Vincent wrote a thesis on film music, sharing his analysis of the different fruitful collaborations between legendary filmmakers and composers (Eisenstein/Prokofiev, Hitchcock/Herrmann, Godard/Duhamel, Marshall/Newman, etc.), discussing the multiple, and sometimes remote, functions of music in a movie.

Knowing and understanding what our elders achieved is the best way to tread new territories. Stravinsky believed that "A work of art should be unpredictable, and at the same time unavoidable". It is a sentiment Vincent believes and always strives toward. Hes attraction to a project is not so much about the story, but how it is told. The principle behind Vincent's work has been to give each movie a unique musical identity, distinct from all others.