Can you briefly present yourself to the public and fans that doesn't know you well apart of your credited filmworks.
 
Jim DOOLEY : I am a native New Yorker recently transplanted into Los Angeles.  I finished my undergraduate work at NYU and continued on to USC for graduate school to study film music composition.  At USC, I was fortunate enough to study with Leonard Rosenman, Elmer Bernstein, Christopher Young, and the late Buddy Baker among others.
 
After your studies at University of Southern California, how did you began to work in the entertainment industry ?
 
I worked odd jobs throughout the summer following graduation for former professors of mine.  I did a music of music editing, web design, and temping at the major studios to keep afloat.   I received a call out of the blue one day that a position was opening up with Hans Zimmer at Mediaventures.  I jumped at the chance.
 
You are one of the last talent that entered the studio Mediaventures, can you tell us a bit about how began your relation with Mediaventures and Hans Zimmer ?
 
I have a great friend of mine that I went to NYU with.  He used to work at Media composers named PJ Hankey and Roy Hay.  He helped me get in the door.  I then worked very hard to stay there.
 
As a member of the Mediaventures team, how people (professionals and others) evaluate your work today ? Did it change the way directors or producers see you?
 
Being part of the Mediaventues team gives you a little bit of street credit that you might not have ordinarily had otherwise.  It definitely changes the first impression directors and producers get of you.  They respect you a bit more because of the company you keep at Media.
 
When we take a look at your short credit list, it appears that you work a lot for the Tv screen. Now you've engaged yourself in the Big White screen area, do you notice a difference ?
 
The differences between TV and film are enormous.  Right now I am scoring a TV show for Jerry Bruckheimer that is going to air on Fox this fall called SKIN.  TV, as a shorter format program with 'interruptions' namely commercials requires a different approach.  A lot of the information you have to give to the audience has to generally be delivered faster.  Obviously David Lynch would disagree with this.  As a composer, you have to keep in mind that people are going to be possibly joining the show at some other point than the beginning.  They need to know where they are in a program when they return from the bathroom.
 
It is a fact that composers who worked with Hans Zimmer and others at MV started a carreer by themselves after a few years. Are you willing to compose by yourself as a filmmusic composer or will you prefer to do both, cinema and Tv ?
 
I have a pretty heavy TV and film schedule over the next year.  When I say film, I mean film projects by myself, not in the additional music category.  I will continue to do that as needed by friends here that I am willing to do that for.
 
What role do you take as the Chief technical engineer in the musical process of  Hans Zimmer ?
 
When I was his technical engineer, I was ultimately responsible for executing all the wonderful and sometimes outrageous requests by Hans.  He has a vision of what he wants and all of the team would do our best to realize it.   Our musical function was to create a transparent work area for Hans to create in.  Which he did/does rather well.
 
You've just finished working with Klaus Badelt on Pirates, the last Bruckheimer production. Can you tell us a bit about the score ?
 
The score to POTC is similar to the rock orchestra style that Hans created in the late 80's and early 90's with score such as The Rock, and Peacemaker.   The themes are great fun to listen to even now and the team that helped realized the vision of this score was probably the greatest collection of composing/arranging talent I have ever seen on one film.
 
What was your position during the filmmusic composition ? Assistant, additional composer or other ?
 
For POTC I was an additional composer.  This term doesn't necessarily reveal what is actually going on in the process.   Sometimes you get a very well mapped out idea and you are orchestrating.  Sometimes you get...nothing...and have to create everything.  The job constantly swings from each extreme to the next.
 
Great Thanks to Jim DOOLEY.
(visit his official website JimDooley.com)

To Be continued...