Theo Croker: Ace of Trumps
TC: When I'm composing music, genre isn't important at all, unless I'm being hired to write something specifically. Otherwise, it's all just music. For the contemporary classical pieces, I wrote it for myself, for my own interests, and it was to learn how to compose for an orchestra and compose for strings. It was very out, and a lot of the players who played it didn't like it, but I liked it [grins mischievously]. At the time I'd somehow gotten a position as Artist in Residence at this theater company. I'd composed a 15-part suite and I brought it to the director, this big, two inch thick book of music, and said I'd like to perform it. I think that was pretty impactful, for me to come up to him and say I wrote it, I can rehearse it, I want to do it.
AAJ: How old were you then?
TC: I was, uh, seventeen. [Laughs] Yeah, I was pretty ambitious. They funded it, and we went for two seasons.
AAJ: What about these film scores?
TC: Film scoring is very new for me, and I haven't done anything major. I've done some independent films with people that I've known. The most significant thing for me was a pilot for a documentary on domestic abuse for HBO. It had really powerful images and a really powerful story, and the music was deep and powerful. That was very cool, because the music, tied in with the images, had a really big impact. It meant a lot for me, like I was contributing to society in creating that soundtrack. And the music was... [pauses] felt. I think it's a challenge for me to write a happy song. I don't mean that everything I write is sad, but my music has a darkness to it. It's not giddy or anything like that.