Hi everyone, I hope you are enjoying the glorious weather in London (if you are here!). Below is part 1 of my interview with Film Composer Anastasia Devana. Big thank you to Anastasia for making time for the interview. Keep a look out for part 2….
You originally grew up in Russia where you did your initial musical training, studying classical music. Where did you study?
There is a system of music schools in Russia. Music school instructors would visit the kindergartens and audition kids for musical abilities (sense of pitch, rhythm). Then those kids have the option to enroll in music school. I was one of the “musical” kids, so I enrolled when I was 6 and graduated at 15. You go to your regular elementary and middle school in the mornings, and then to the music school in the afternoon (3 or 4 days a week). I think I had 2 private piano classes a week, plus 2 group solfeggio and choir classes a week.
The funny story is that when I was first auditioned, our kindergarten music teacher was against me enrolling in the music school. She thought that I had a really weak voice, so I wouldn’t cut it. But the music school teacher must have seen something in me, and she insisted on putting me on the “list”. She ended up being my solfeggio and choir teacher. I did have a pretty weak voice back then, but right as I was graduating from the music school at 15, I suddenly and mysteriously “found” the voice I never knew I had, and that same teacher invited me to join her small vocal ensemble. I have really fond memories of her and the ensemble. But more than anything, I really owe her for bringing music into my life (or bringing me to music rather).
Anastasia receiving the GANG Student/Apprentice Award at GDC 2013
After moving to LA you studied at UCLA, in the film scoring program, working with other composers. Who did you work with while you were there?
I was lucky to have met some great mentors in the field. I was also able to perform some assistant tasks, and collaborate on projects with some of them. The two people who have been especially supportive are Tim Wynn and Christopher Lennertz. They are both fantastic composers with thriving careers, and just really great people. I’ve learned a ton from them while working at their studio, Sonic Fuel Studios.
What did assisting Tim Wynn and Christopher Lennertz involve and which projects did you collaborate with them on?
Some of the assisting tasks included notating, creating lead sheets, music editing, technical assistance (maintaining templates, updating software), etc. These days, I regularly work on Chris Lennertz’s team for TV show Supernatural as a music arranger.
What would you say were the most important things that you learned from them?
I think the most valuable experiences from working at Sonic Fuel was observing the recording sessions: how the composer interacts with players and handles issues, pacing and working under time constraints, control room roles and dynamics – it’s definitely not something that you can witness in school.
Read Part 2 of the interview here.
Anastasia receiving the Best Composer award at the Los Angeles Neo-Noir Erotic Film Festival