"...This
is great writing! Great composer! No question about it!..."
- Christopher Young, composer (Spiderman 3, Ghost
Rider, Lucky You, The Grudge 1 & 2, Runaway Jury, The Core, Shipping
News, Swordfish, The Hurricane, Hellraiser, Entrapment, Jennifer 8,...)
"...In explaining its decision, the Jury observed that,'In
the movie God's Waiting List, the music is employed with an exceptional
subtlety, so that it is not only used as an ornament, but plays an
intrinsic and major role in the movie. Vincent Gillioz showed a great
flexibility to adapt his skill to the demand of the images. Audacious
and skillful, he ventured down different stylistic paths and showed
himself capable of covering a broad musical range. Gillioz's music
is as much flexible as touching. It is an excellent painting of the
environment, without artifice, true and modern in its musicality.
In brief, his artwork demonstrates great inspiration and extraordinary
creativity.' The jury also praised the exceptional professionalism
of his composition..."
- The Jury of the SUISA Prize, 58th Locarno International
Film Music Festival
"...In the urgency of the independent film world, Vincent had
12 days to deliver an hour of music. Not only did he step up to the
plate, he delivered the most exquisite score one could ever imagine.In
a business of technicians, Vincent is an artist!..."
- Gino Cabanas, director (Cut Off, Silver,...)
"..."The Irish Vampire Goes West" is an intelligently conceived score, with a lot of thought and creativity going into its creation. The film could have attracted a lesser score for certain, given the genre (and budget), but thankfully it found a composer willing to go that extra mile to create something original and interesting. The ‘Pie Jesu’ which closes the album is evidence enough of Gillioz’s talent and his effort in releasing his music will no doubt pay off in the future – producers take note!..."
- Michael Beek, Music From The Movies magazine
"...A fun and friendly guy who is a pleasure to work with and
who brings in an endless supply of fresh musical ideas. Vincent
has a knack for finding the essence of a character and for tying
him/her in to the overall arc of the story..."
- Gene Duffy, writer-director (Living With Uncle
Ray,...)
"...Since Vincent and I don't live in the same city, it was
impossible for us to meet during the scoring stage. Vincent regularly
uploaded the scored scenes on the internet, and then we would talk
about them over the phone. If at first I was perplex about the distance
work process, in the end I must say that it never impeded the exchange
of ideas, the progress, or the quality of the work delivered. I
have been blown away by Vincent's score, and am still dazzled by
the endless options the internet provides in the making of a movie..."
- Franz Josef Holzer, writer-director (L'écart,
Deux,...)
"...It was great to work with someone as professional, and
well -damn quick. Vincent's patience also was a thankful relief
as we went through several iterations of the movie before finishing..."
- Stefan Avalos, writer-director (The Ghosts of
Edendale, The Last Broadcast, The Game,...)
"...There is too much bass!..."
- Vincent's Mother, mother
"...Vincent worked on Tupilak until the very last minute. To
tell the truth, he even insisted to reorchestrate the last piece
in the plane that was taking us to Budapest for the recording sessions..."
- David Leroy, writer-director (Tupilak, Brutalos,
Trifle,...)
"...Vincent truly understood the complex psychology of the
characters when scoring Erosion. By the way Vincent, I told you
a hundred times that "my" Irene is not the typical housewife
type, damn it!!! Vincent's talent, professionalism, sense of humor
and commitment to our lengthy project, made the collaboration unique
and thoroughly enjoyable. The secret is, the more cookies you bring
him, the better his music becomes"
- Ann Lu, writer-director (Erosion, Dreamers,...)
"...Vincent is above all else a fellow storyteller. He uses
his immense creative talent to underscore the emotional journey
of the film, and likewise knows when silence would be best. He was
a patient and dilligent ally throughout the process, and would not
stop working until I was thrilled with every single note..."
- Cartney Wearn, writer-director (Pray For Morning,...)
"...Vincent Gillioz is the true heir of the composers who,
from Hans Salter to Brian Tyler, brought some density to the horror
genre..."
- Christophe Billeter, Traxzone Magazine
"...the fusion of his extensive musical knowledge and his European
heritage have been a blessing on our collaborations. We have explored
everything from gregorian chant to eastern European atonal music
to Jazz..."
- Aaron Lindquist, writer-director (Made Incorrect,
A Simple Film,...)
"...After months of strenuous post-production, it is always
refreshing to work with a composer whose passion for what he does
and his genuine excitement for the project at hand, rejuvenates
your experience of your own film as if you were watching each scene
for the first time. Vincent constantly challenged my preconceived
notions of what the music should be, and by continuously introducing
new, sometimes unorthodox ideas, left me pleasantly surprised again
and again..."
- Boris Undorf, writer-director (Sonata,...)
"...Vincent is exactly what I look for in a member of my creative
team: he's a collaborator. he brings a lot to the table and his
contributions are priceless..."
- Paul Tarantino, writer-director (Headhunter,
Courting Courtney,...)
"...Vincent's eclectic but coherent score that goes from a
string orchestra to a Jazz trumpet solo via distorted electric guitars,
played a major role in the storytelling without drawing attention
to itself. It is no wonder to us that Vincent was awarded the SUISA
Prize for best score on our project God's Waiting List..."
- Duane Adler, writer-director (Step up, Save The
Last Dance, God's Waiting List,...)
"...Hamal_18 has a really unique score that strongly supports
the visuals, and yet remains both intense and emotional..."
- John G. Thomas, director (Hamal_18, Healer, Arizona
Heat, Banza Runner,...) |