Creating the score to The Glass House presented me with an opportunity to explore and combine instruments and musical colors in a unique manner.  This deeply moving documentary following the lives of four young troubled girls felt to me a delicate subject that needed a distinctive musical sensibility.

One of the first decisions Hamid, Melissa and I made was to leave out Persian instruments from the score.  We felt that the underlying motif of the movie transcended the place it was shot in, and that avoiding the use of Iranian or Middle Eastern instruments would allow the score geographic and cultural neutrality.  In doing so, we hoped to keep the focus on the girls and their respective plights, allowing the location to remain a background to the narrative.