Equally adept at computer generated music and classical orchestral elements, Paul Haslinger has established himself as a unique musical voice in the world of feature films. Classically trained in Salzburg and Vienna, he eschewed his classical roots to become a member of the pioneering electronic band, Tangerine Dream, in which he left his distinctive fingerprint on four highly successful albums and several films, including 'Miracle Mile', 'Near Dark' and 'Canyon Dreams', which earned him a Grammy nomination. Upon venturing out on his own, Haslinger had three critically acclaimed solo albums and scored two ground breaking animated science-fiction films, Planetary Traveler (1997) (V) and Infinity's Child (1999) (V), for director Jan Nickman. He honed his film scoring skills for several years as the programmer for 'Graeme Revell' , providing the musical textures and atmospheres for such movies as Blow, The Negotiator (1998), The Siege (1998), Pitch Black (2000) and Tomb Raider, to name just a few.

Paul Haslinger, an artist and film composer, talks about the importance of two principles as a film composer - persistence and luck. He explains that while one can only hope for luck, persistence is under one's control. Haslinger also points out that one must take talent for granted. The significance of recognizing that the process is never finished is covered as well.

Paul Haslinger, an artist and film composer, talks about conducting. He explains his thoughts on the place of a producer and music director. From a political perspective, they should be where the control of the process is - in the studio. Haslinger also discusses how conducting is a special talent. There is a difference between knowing how the music should sound and knowing how to motivate the orchestra. The significance of click tracks is covered as well. The music must be frame accurate. Also in this segment, Haslinger explains the role of contractors. Contractors hire musicians. This is a critical task since even one bad apple in an orchestra could throw off the music.

Paul Haslinger, an artist and film composer, talks about the video game scene. He explains that like any other scene, the video game scene is hard to break into it. There is a lot of competition. However, Haslinger points out that the video game scene is younger. The executives are much younger. The nonlinear storytelling aspect of video games is covered as well. The story in games can be told in numerous ways. Thus, Haslinger highlights the advantage of knowing loops and sampling. Also in this segment, he shares his favorite part of his work - jumping between films and games.

Paul Haslinger, an artist and film composer, talks about mixing. He explains that the mix in film music is a multistage and interactive process. He mixes while he writes. Haslinger discusses why he does a music mix. He wants a second perspective and uses the music mix to predict the outcome of the final film mix. The dub mix is covered as well. The dub mix brings all audio components together to be mixed for the final film mix. Also in this segment, Haslinger explains that the process is sometimes collaborative and sometimes competitive. Ideally, people would work together as if it were one creative project. However, Haslinger points out that competitiveness is part of human nature and that egos do come into play.

Paul Haslinger, an artist and film composer, talks about the standard expectation of studio clients. Clients must hear the score before it is recorded, thus Haslinger emphasizes the significance of mockups. As of recent, innovative technologies and added computer power have provided new and favorable options for the film composer.

Paul Haslinger, an artist and film composer, talks about how he entered the music business, how he worked his way into film music, his work with John Stockwell, and his feelings on his career choice.

Paul Haslinger, an artist and film composer, talks about the purpose of a film composer, including music's effect on audience emotions, the concept of leitmotif, and the prevalence of themes in Hollywood. Mr. Haslinger discusses film projects including popular, action movies like Tomb Raider. Paul also discusses traditional and nontraditional formulas, his favorite part of the process, and his different approaches.

Paul Haslinger, an artist and film composer, mentions film composers that had a significant impact. He talks about Bernard Hermann and how his ability to maximize effects while remaining simplistic has separated him from other composers. Haslinger also discusses Ennio Morricone. Morricone excels at his emotional support. Also in this segment, Haslinger talks about current composers. He lists Antonio Pinto, film composer of Collateral, and Alexandre Desplat, film composer of Girl With A Pearl Earring as two of his favorites.

Paul Haslinger, an artist and film composer, talks about the two principles in film music - the powers of simplicity and details. He also discusses the advantages of limitations, the schedule of a film composer, and what background one should have. The importance of experience and technology is stressed as well.