With scoring, everything has to be really tailored to picture, and each scene really dictates what you’re doing. Also, though, I’m doing whatever I want with the album. My album was 30 minutes of music that took six months. I had to do 30 minutes worth of music in two and a half weeks. It’s like The Dark Knight meets The Bourne Ultimatum. And then I had two short films that I did, and then I had a bigger scale short film last summer, and then I just finished a 30-minute film that’s being used as a pitch, and that’s crazy looking. everything was composed by him, but 10 minutes of it was me. He gave me about 10 minutes of scenes to write music for. Last summer, I helped out this bigger composer Paul Haslinger on Death Race 2. It’s cool because I’ve slowly built up experience. When you did From the Blue, it was an album’s worth of music, do you also approach a film score as if it was an album since it’s about the same length of music? We open the following interview talking about his process for scoring The Devil’s in the Details before discussing his latest album and his battle with cancer. Cocke enjoys home cooking, creatively speaking, and still composes in his old bedroom at his parents’ house while he’s in Sacramento. However, luckily for him, his work affords him the chance to leave town often, not that it’s a complete vacation. “After about two months, I start going crazy.” “There’s a hum of constant sound and lack of nature,” he says. He admits that the concrete jungle of L.A. When we caught up with Cocke, he was enjoying some time away from Los Angeles back home in Sacramento. When Submerge spoke to him, it was the day after his eighth anniversary of his diagnosis, and today he stands cancer-free. Cocke was diagnosed with stage IV testicular cancer, which he managed to fight off after a tough struggle. His career is on the upswing, but just eight years ago, it almost ended before it really began. He also just started working on scoring his first feature film, The Devil’s in the Details, starring Goodfellas’ Ray Liotta. The album is scheduled for a July 3 release, but Cocke has already started releasing tracks to his SoundCloud page. “Some of my composer buddies are like, ‘Knock it off!’” Cocke says.Ĭurrently, he is poised to release another album’s worth of trailer music, this time through Position Music, titled The Verge of Total Chaos. “They Came from the Blue,” another track off From the Blue, was placed in about a dozen trailers, he reports. “It was like, ‘What the hell?!’” he says of his reaction to the news.Ĭocke says it’s a rush each time he hears something he wrote in a trailer, even though at this point it’s happening a lot more often.
#SUBMERGE MOVIE TRAILER FULL#
Having a full song used throughout the entirety of a trailer is a rarity, according to Cocke. A full track from From the Blue, “World Collapsing,” was used in the trailer of the recently opened fairy tale adventure flick, Snow White and the Huntsman. Portions of Cocke’s music have also been used to promote what will likely be the biggest movie of the year, The Avengers. I did not expect that level of explosion.” “I was a huge Marvel fan as a kid… It was totally surreal.
#SUBMERGE MOVIE TRAILER TV#
“I was recording bands at the same time just to pay the bills, and all of a sudden it was the first Thor TV spot, and then Conan…Captain America, Green Lantern, and then I got called into custom score the first The Amazing Spider-Man trailer where they actually gave me picture–where he was in first-person running across the roof,” Cocke says.
At the time, Cocke admits he was “dirt broke.” Much of From the Blue was even recorded in his old bedroom at his parents’ house. In 2011, Cocke released From the Blue, an album of short but dramatic tracks, through L.A.-based licensing and publishing company RipTide Music. Though just eight years ago, his music career and his life were in serious jeopardy. Los Angeles (by way of Sacramento) composer Danny Cocke handles the latter. Trailers fuse all the best parts of the movie into an endorphin-drenched nugget of excitement, loaded with quick cuts, epic voice-overs and even more epic music. Who can blame them? The trailers are often more exciting than the actual movies they’re meant to market. Composer Danny Cocke gets to work on scoring his first feature film and prepares to release a new album of trailer musicįor some, getting to the cinema early for the trailers is just as important as seeing the feature presentation.
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