The Gift of Listening: Reflections from DIALOGUES

A special moment—conducting my score for Stephen McCauley's film, performed by Hard Rain SoloistEnsemble.

Last week I had the pleasure of taking part in DIALOGUES, a residency and creative exchange programme for composers and moving-image makers organised by Dumbworld in partnership with the Regional Cultural Centre Letterkenny, Ulster University and Hard Rain SoloistEnsemble.

The residency brought together twelve composers and twelve filmmakers from across the island of Ireland to create twelve original short films and scores through an intensive week of collaboration.

Although my work often combines music with technology, interactive media and visual art, this was one of my first opportunities to focus specifically on composing for film.

Each composer was paired with a filmmaker and given just a few days to create an original score. Alongside the creative work, we took part in workshops and mentoring sessions with an inspiring group of composers, filmmakers and industry professionals. One of the highlights was hearing our music performed and recorded by Hard Rain SoloistEnsemble before the films received their public premiere at the Regional Cultural Centre in Letterkenny.

Collaboration begins with listening

I've always enjoyed collaboration.

I enjoy the challenge of having my own artistic voice while working within another person's vision. There are always boundaries and limitations, but those constraints often become the most interesting part of the creative process. Finding imaginative ways to solve problems, respond to feedback and serve a shared goal is something I genuinely enjoy.

Working with a director reminded me that collaboration begins with listening. Listening to the film, the images, the pacing of the edit, the rhythm of the dialogue, and, perhaps most importantly, listening to what the director is trying to say.

I also found it fascinating to discover each director's creative personality. As ideas are shared back and forth, you gradually learn what resonates with them, what feels essential to the story, and where there is room to experiment. It's a process of building trust—exploring possibilities together until the film begins to reveal the music it needs.

The diversity of creative minds

Knowing we had very little rehearsal time, to me, the goal was to achieve maximum impact with minimal musical material.

One of the greatest joys of the residency was hearing twelve completely different musical responses to twelve different films. Every composer brought a unique musical language shaped by their own experiences, influences and interests. There wasn't a single "correct" approach to film scoring. Each score reflected a different way of listening and a different way of telling a story.

I was equally inspired by the diversity of the mentors and visiting professionals. Their personalities, working methods and career paths were all remarkably different. It reminded me that there isn't a mould you have to fit into in order to become an artist.

So much of creativity comes from understanding yourself first. Your musical voice isn't something you manufacture—it emerges from who you are. Technique, craft and experience help you express it more clearly, but they can't replace it.

It's easy to measure ourselves against external markers: awards, prestigious institutions, career milestones, income, the complexity of our music, or even social media numbers. But what I observed throughout the week was something quite different. The mentors weren't trying to impress anyone. They simply made the work they believed in, kept refining their craft, and remained curious.

That, to me, felt like a healthier definition of success.

A personal lesson

Perhaps the biggest lesson, though, was a personal one.

Over the past few years, I've sometimes caught myself thinking about composition in terms of projects, deadlines and career progression. Somewhere along the way, creating had quietly become something to manage.

During this residency there simply wasn't time for that. We had to trust our instincts, make decisions quickly, respond to the film, and keep writing. I don't want to spend my energy constantly trying to keep pace with everyone else. I want to spend more time making work that feels curious, playful and honest.

In many ways, DIALOGUES felt like permission to step away from the race—not to stop growing, but to stop measuring every step. To keep learning, keep collaborating, and keep making music because the process itself is joyful.

I'm deeply grateful to the Dumbworld team, the mentors, Hard Rain SoloistEnsemble, my fellow composers, and especially my director for making the week such a generous and inspiring creative experience.

I leave DIALOGUES with new skills in film scoring, new collaborators, and, perhaps most importantly, a renewed confidence in simply being myself as an artist.

Finished the week with a visit to Donegal City and the breathtaking Sliabh Liag Cliffs.