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I'm applying for the composer role on your feature, and I want to be straightforward about my proﬁle before anything else. I haven't scored for ﬁlm before, and my notation work has been in Sibelius rather than Logic, Pro Tools, or Ableton. If DAW ﬂuency is non-negotiable for your timeline, I understand — and I'd suggest stopping here. If there's ﬂexibility to either pair me with a producer/engineer on the production side, or to allow ramp-up time on Logic, I think the rest of what I bring is worth your consideration. What I bring as a composer: an M.M. from the Eastman School of Music, ﬁfty years of teaching, the Albert Nelson Lifetime Achievement Award, and a catalog of 58+ works including the opera Hurt and Hope. My recent compositions, including "No Kings for America" and "Papier-Mâché Lions," are available on Spotify under Scott Thomas Carter — that portfolio is the most direct evidence of the harmonic and emotional vocabulary I'd bring to your ﬁlm. What draws me speciﬁcally to this project is the subject matter. I live with complex PTSD. The territory your protagonist is navigating — personal anxieties, a troubled past — isn't a brief I'd be interpreting from the outside. My compositional work over the past several years has been built around exactly this terrain: how the nervous system holds and releases trauma, where stillness sits inside agitation, what resolution sounds like when it isn't forced. The framework underneath that work draws on Polyvagal Theory and music's capacity to reach regulatory states the conscious mind can't access directly. I'm based in Burlington, Vermont (Eastern time), work well independently, and am accustomed to tight deadlines and revision cycles. Thank you for considering an unconventional candidate. If a brief conversation would help you decide whether the ﬁt is workable, I'd welcome it.…I'm applying for the composer role on your feature, and I want to be straightforward about my proﬁle before anything else. I haven't scored for ﬁlm before, and my notation work has been in Sibelius rather than Logic, Pro Tools, or Ableton. If DAW ﬂuency is non-negotiable for your timeline, I understand — and I'd suggest stopping here. If there's ﬂexibility to either pair me with a producer/engineer on the production side, or to allow ramp-up time on Logic, I think the rest of what I bring is worth your consideration. What I bring as a composer: an M.M. from the Eastman School of Music, ﬁfty years of teaching, the Albert Nelson Lifetime Achievement Award, and a catalog of 58+ works including the opera Hurt and Hope. My recent compositions, including "No Kings for America" and "Papier-Mâché Lions," are available on Spotify under Scott Thomas Carter — that portfolio is the most direct evidence of the harmonic and emotional vocabulary I'd bring to your ﬁlm. What draws me speciﬁcally to this project is the subject matter. I live with complex PTSD. The territory your protagonist is navigating — personal anxieties, a troubled past — isn't a brief I'd be interpreting from the outside. My compositional work over the past several years has been built around exactly this terrain: how the nervous system holds and releases trauma, where stillness sits inside agitation, what resolution sounds like when it isn't forced. The framework underneath that work draws on Polyvagal Theory and music's capacity to reach regulatory states the conscious mind can't access directly. I'm based in Burlington, Vermont (Eastern time), work well independently, and am accustomed to tight deadlines and revision cycles. Thank you for considering an unconventional candidate. If a brief conversation would help you decide whether the ﬁt is workable, I'd welcome it.

Scott Thomas Carter

Composer, Music Composer, Music Producer, +2

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I'm applying for the composer role on your feature, and I want to be straightforward about my proﬁle before anything else. I haven't scored for ﬁlm before, and my notation work has been in Sibelius rather than Logic, Pro Tools, or Ableton. If DAW ﬂuency is non-negotiable for your timeline, I understand — and I'd suggest stopping here. If there's ﬂexibility to either pair me with a producer/engineer on the production side, or to allow ramp-up time on Logic, I think the rest of what I bring is worth your consideration. What I bring as a composer: an M.M. from the Eastman School of Music, ﬁfty years of teaching, the Albert Nelson Lifetime Achievement Award, and a catalog of 58+ works including the opera Hurt and Hope. My recent compositions, including "No Kings for America" and "Papier-Mâché Lions," are available on Spotify under Scott Thomas Carter — that portfolio is the most direct evidence of the harmonic and emotional vocabulary I'd bring to your ﬁlm. What draws me speciﬁcally to this project is the subject matter. I live with complex PTSD. The territory your protagonist is navigating — personal anxieties, a troubled past — isn't a brief I'd be interpreting from the outside. My compositional work over the past several years has been built around exactly this terrain: how the nervous system holds and releases trauma, where stillness sits inside agitation, what resolution sounds like when it isn't forced. The framework underneath that work draws on Polyvagal Theory and music's capacity to reach regulatory states the conscious mind can't access directly. I'm based in Burlington, Vermont (Eastern time), work well independently, and am accustomed to tight deadlines and revision cycles. Thank you for considering an unconventional candidate. If a brief conversation would help you decide whether the ﬁt is workable, I'd welcome it.…I'm applying for the composer role on your feature, and I want to be straightforward about my proﬁle before anything else. I haven't scored for ﬁlm before, and my notation work has been in Sibelius rather than Logic, Pro Tools, or Ableton. If DAW ﬂuency is non-negotiable for your timeline, I understand — and I'd suggest stopping here. If there's ﬂexibility to either pair me with a producer/engineer on the production side, or to allow ramp-up time on Logic, I think the rest of what I bring is worth your consideration. What I bring as a composer: an M.M. from the Eastman School of Music, ﬁfty years of teaching, the Albert Nelson Lifetime Achievement Award, and a catalog of 58+ works including the opera Hurt and Hope. My recent compositions, including "No Kings for America" and "Papier-Mâché Lions," are available on Spotify under Scott Thomas Carter — that portfolio is the most direct evidence of the harmonic and emotional vocabulary I'd bring to your ﬁlm. What draws me speciﬁcally to this project is the subject matter. I live with complex PTSD. The territory your protagonist is navigating — personal anxieties, a troubled past — isn't a brief I'd be interpreting from the outside. My compositional work over the past several years has been built around exactly this terrain: how the nervous system holds and releases trauma, where stillness sits inside agitation, what resolution sounds like when it isn't forced. The framework underneath that work draws on Polyvagal Theory and music's capacity to reach regulatory states the conscious mind can't access directly. I'm based in Burlington, Vermont (Eastern time), work well independently, and am accustomed to tight deadlines and revision cycles. Thank you for considering an unconventional candidate. If a brief conversation would help you decide whether the ﬁt is workable, I'd welcome it.

Available to hire

I’m applying for the composer role on your feature, and I want to be straightforward about my proﬁle before anything else. I haven’t scored for ﬁlm before, and my notation work has been in Sibelius rather than Logic, Pro Tools, or Ableton. If DAW ﬂuency is non-negotiable for your timeline, I understand — and I’d suggest stopping here. If there’s ﬂexibility to either pair me with a producer/engineer on the production side, or to allow ramp-up time on Logic, I think the rest of what I bring is worth your consideration. What I bring as a composer: an M.M. from the Eastman School of Music, ﬁfty years of teaching, the Albert Nelson Lifetime Achievement Award, and a catalog of 58+ works including the opera Hurt and Hope. My recent compositions, including “No Kings for America” and “Papier-Mâché Lions,” are available on Spotify under Scott Thomas Carter — that portfolio is the most direct evidence of the harmonic and emotional vocabulary I’d bring to your ﬁlm.

What draws me speciﬁcally to this project is the subject matter. I live with complex PTSD. The territory your protagonist is navigating — personal anxieties, a troubled past — isn’t a brief I’d be interpreting from the outside. My compositional work over the past several years has been built around exactly this terrain: how the nervous system holds and releases trauma, where stillness sits inside agitation, what resolution sounds like when it isn’t forced. The framework underneath that work draws on Polyvagal Theory and music’s capacity to reach regulatory states the conscious mind can’t access directly. I’m based in Burlington, Vermont (Eastern time), work well independently, and am accustomed to tight deadlines and revision cycles. Thank you for considering an unconventional candidate. If a brief conversation would help you decide whether the ﬁt is workable, I’d welcome it.