In my work with choreographers and filmmakers, there have been several different collaborative processes: in the case of dance, for example, sometimes music will come first, then the dance, or the other way around, or it may be that the compositions evolve together. It is precisely this back and forth, this trusting conversation between myself and other artists, that I love about collaboration. Nothing is more gratifying to me than when the whole exceeds the sum of the parts, and surprises us with something we could not have created on our own.

Seeing I (2000) has a steady beat but a constantly shifting meter, filled with humorous syncopations and playful melodies. It was written for a dance-theater work by Ariane Anthony that was based on Samuel Beckett's Stirrings Still, and has been used in a short film by Alister Sanderson.
Shadowplay (2006) was written for a short film of the same name by Jennifer Reeves and was first presented at The Three Legged Dog in NYC. The rocking and repetitive quality of the music, with a vaguely Eastern melodic line, was created to complement imagery of boats on the water.
Backward (2001) is an exploration of the curious fact that if you take an unpredictable form (non-tonal sequences, indeterminate meter) and superimpose over it a regular structure (the single note repeating at predictable intervals, the chaos becomes more readily accessible in the mind. Backward is part of the score for the Brian Brook's dance, Faster!
I wrote Mermaids (2004) for the culminating moment in Do I Dare?, an evening-length work of dance-theater by Ariane Anthony that was inspired by T.S. Eliot's "The Love Song of J. Alfred Prufrock." The piece can be played without the sound effects of waves and talking women which accompany the sample and which are part of Prufrock's predicament.