Film Scoring Faculty

Andreas Bjorck

Assistant Professor, Film Scoring | 617 747-8142

"The actual end result—the music—is what you need to be thinking about; whatever tools you use are just tools. Just because you're working with a computer, you're still trying to create art. You have to treat technology as an instrument that's no different from spending six hours a day in a practice room practicing your guitar. Whether it's a computer or a mixing board or a guitar, you have to make it kind of sing and play for you."

Mason Daring

Professor, Film Scoring | 617 747-8846

"I teach a class I designed called Scoring the Moment. Every week students look at a classic scene in a movie. For example, I show them scenes of kisses from famous movies, and then I show a scene from a movie I did where somebody kisses, and then they score that kiss next week. When they come back and play it for me, then I play them what I did. The next week we do gun fight or we do abandoned or we do tornado. It's great fun to see what they do on scenes I've already done. And I tell them, if you're going to do this for a living, sooner or later, you're going to do one of those things."

Richard Davis

Professor, Film Scoring | 617 747-8211

"I try to emphasize the idea that we're constantly making a series of decisions, and that the goal is to satisfy a dramatic intention. In an orchestration class, I can't teach kids what notes to write. I can't stand over them and say, 'Write this note and this note,' or 'You must use this combination of instruments here.' But I can show them how to identify styles, genres, or gestures they're making through the music that the audience will relate to. I can show them how to make decisions about what instruments, what combinations, to use to achieve a certain effect. It's decision-making and overall concept that I tend to emphasize."

Dario Eskenazi

Assistant Professor, Film Scoring | 617 747-6247
  • B.M., Berklee College of Music
  • Pianist
  • Leader of the Dario Eskenazi Quartet
  • Performances with Paquito D'Rivera, Dave Samuels, Mongo Santamaria, Andy Narell, Tito Puente, Leny Andrade, and Rosa Passos
  • Recipient of a Grammy (with the Caribbean Jazz Project) and three Latin Grammys (with Paquito D'Rivera)
  • Recordings with Hiram Bullock, Romero Lubambo, and Diane Schuur
  • Composer for films including The Last New Yorker and Que Parezca Un Accidente, plus additional music and orchestration for several European films

Ruth Mendelson

Assistant Professor, Film Scoring

"One of the greatest reasons for having talent is to be of service to others, so I want my students to trust their intuition and imagination to come up with ways to make a living within that. Part of creative conviction is to understand: Who are you really? What are you doing on this earth? These are very big questions, but with the privilege of being an artist comes the responsibility to address them. Otherwise, how do you grow into yourself?"

Sheldon Mirowitz

Professor, Film Scoring | 617 747-8141

"There are two parts to creating. One is exploring and the other is culling. If you confuse them, then you won't get anywhere. Mick Goodrick once said to me, 'When you swim, there is stroking and then there's gliding. And if you only stroke you won't be able to swim, because you won't get anywhere. You need to be able to glide in between strokes.' There's a period of time when you are capturing the things floating around through you, and you have to be very careful not to be judgmental at that point. There is also the point when you need to be critical and throw things out, but if you go there at the wrong point in the process you'll simply muck it up."

Alison Plante | 617 747-2637

"Knowing how to collaborate is so important. Music for media—whether it's games, interactive media, film, or television—doesn't stand alone; it works with the other elements and that means that you're working with other people. We promote collaboration in a lot of classes in our department and in extracurricular activities, and we're continuing to broaden the possibilities for collaboration in the curriculum."

Claudio Ragazzi

Associate Professor, Film Scoring | 617 747-8067

"I believe in the complete musician. I think in order to make it in the real world you have to have a specialty like film scoring, orchestration, or production, but you also need to know how to play your instrument, you need to read. Twenty-something years ago I was graduating from Berklee. Then I went to play music, then I went to record, then I went to film scoring for almost twenty years, and now I come full circle back to Berklee as a teacher. So I think if you really want to make it as a professional musician, you try to be, as much as you can, a complete musician, someone who can perform, write, orchestrate, arrange, produce, do film scoring, do theater, do ballet, do other forms."


Eric Reasoner

Professor, Film Scoring | 617 747-8467

"I try to give my students practical working knowledge—to not only understand the concepts but to see how it all comes together. I'll show examples of feature film projects that I've worked on; I'll bring films into the classroom and tear them apart and say, 'Now, here's where we start. Here's how we build the music cues for this particular scene. Here's how we go about editing them.' Just showing students the overall process flow."

Ted Reichman

Assistant Professor, Film Scoring | 617 747-6416

"I emphasize different things in different classes, but professionalism and sold technical skills need to be at the core of what we do. At the same time, my goal is to always maximize musical expression and to gain a deeper understanding of how to apply that to film or any other visual media."

Michael Sweet

Associate Professor, Film Scoring | 617 747-2814

"Video game audio is a multidisciplinary field; it's so varied and massive in scope, with about six disciplines combined into one. On one hand, you have to be the John Williams: you have to write the music. But on the other hand, for it to work with the video game, there's also the logic of how all that music is going to work together in the game and how that stuff interacts. For composers, you have to wrap your head around some new concepts that you don't encounter as a linear film composer. Those things include branching and looping, and being able to transition from one place to another very quickly. In a game, you have to plan for all the variances of how a player might actually be interacting with the game."


Duncan Watt

Assistant Professor, Film Scoring | 617 747-6435

"Done well, a great game score makes a player feel the music was specifically written for their choices, actions, and decisions. And providing students with tools to accomplish that is the focus of my teaching here at Berklee."

Don Wilkins

Chair Emeritus, Film Scoring
Also affiliated with:: Berklee Online (available courses) | 617 747-2441
  • B.M., Berklee College of Music
  • Composer for feature films Sixteen (a.k.a., Like a Crow on a June Bug), Mission Hill, The First Killing Frost, and Academy Award nominee Urge to Build
  • Composer for television series Hometown and Breaking Ground and co-composer for America by Design
  • Music supervisor on over 200 short subjects, including Academy Award winner Karl Hess: Toward Liberty and nominee Kudzu
  • Film music editor for network television specials and contributing arranger for network television movies River of Gold and Maybe I'll Come Home in the Spring
  • Clinician on film music for National Film Board of Canada, Women in Film-New England, and IAJE