Biography Jeff Rona experienced at an early age with music, and this resulted in becoming a highly regarded synthesist for films, TV series and recording projects. His background includes composing for theater, dance, studies in world music, orchestral, concert, electronic and so on. Mainly doing additional music for other films like Toys, The Net, Assassins and The Fan, Rona started to feel respect from several people. Ridley Scott asked Hans Zimmer to score White Squall but Hans wasn't available, instead Zimmer chose Jeff Rona to score the movie and it became one of the better scores of movie music. Recently Jeff Rona seems to be picking up the projects with The In Crowd and Exit Wounds, as with Traffic the film (additional material) and series. Earthsea for Television was an upcoming promising musical opportunity, but couldn't bring the expected fantasy power. Rona is also known for his vast work in the Television world, with Chicago Hope and Homicide: Life on the Street as his finest examples.
(on The Lion King) What is expected is not to be a genre-buster, it's to be evolutionary. Some scores are revolutionary, but they're very few and far in between. You're not there to be the star. (overall impression) The hardest thing to do is a bad movie. It terms of content helicoptercrashes or gunfights are actually pretty easy because you can't really hear the music anyway. You can get by with energy and attitude. What is hard is a beautiful tune that meshes well with complex emotions and that makes people care. That's hard. Then it is really is about the music.(overall impression on the action scenes of Exit Wounds) Fortunately I got to do
a few projects recently where the temp tracks were not exclusively but primarily my own
music and that really does help. Then it becomes about coming up with something you would
have come up with anyway, but better.
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Highlight of his
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