I met him in 1984 and worked with him on a couple movies – THE NEVER ENDING STORY and ELECTRIC DREAMS. I got my first chance in film scoring through Giorgio Moroder. When I got out of school I worked as a session musician and had worked for a lot of different people including Patrick Williams and other film composers, and I also have over 40 record credits as a session musician. I’ve been involved with computer music since 1971, and in my studies at Carnegie-Mellon University with my Master’s Degree, I studied with Morton Subotnick at CalArts, so I had aspirations of using electronic music with film for quite a long time. How did you get started in electronic music and then film scoring? Interviewed recently for CinemaScore, Chang described his film music work and his own unique approach to scoring motion pictures. His music has enlivened such high-speed action films as DEAD BANG, FIREWALKER and 52 PICK-UP, and has just embellished three recent releases, DEATH WARRANT, starring Jean Claude Van Damme, MIAMI BLUES and the quirky Michael Caine psychological thriller.
Merging state-of-the art computer technology with electronic and acoustic music, composer musician Gary Chang is making a name for himself as a film composer worth watching. Text reproduced by kind permission of the editor, Luc Van de Ven and Randall D. Originally published in Soundtrack Magazine Vol.9/Nos.34/1990 An Interview with Gary Chang by Randall D.
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