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Composer Theron Kay has made a name for himself in the world of film and media scoring, blending rich storytelling with dynamic musical landscapes. From his early inspirations—like the eclectic sounds of Cirque du Soleil—to working on high-profile projects with Marvel, Amazon, and Illumination, Kay’s journey is one of passion, versatility, and innovation. Whether crafting immersive soundscapes for feature films, shaping the sonic identity of trailer campaigns, or collaborating with industry heavyweights, his work reflects a deep commitment to musical storytelling.
In this interview, we explore Kay’s creative process, his experiences working on projects like Grace Point and the Being the Ricardos trailer, and the invaluable lessons he’s learned from industry veterans. He also shares insights into the differences between trailer composition and film scoring, his approach to balancing multiple roles, and the dream projects he hopes to tackle next.
What initially drew you to composing music for film and media?
I’ve always been a storyteller. As a kid, I actually thought I’d become an author—I would write hundreds of pages of fictional adventure stories, thinking maybe I’d be the next Tolkien. But the moment my passion shifted to musical storytelling was when I was seven years old and saw the Cirque du Soleil show Varekai in San Jose, CA. You might ask, “Theron, were you really inspired by circus music?” And the answer is an unequivocal yes. The storytelling in those performances was on another level—enhancing what was happening on stage while seamlessly blending an eclectic mix of global genres. That’s when I knew I wanted to be a composer, to create music that evokes the same sense of awe and wonder I felt in that moment.
Fast forward to a few years ago, I had the incredible opportunity to sit in on the scoring sessions for James Newton Howard’s Jungle Cruise score. Watching world-class musicians bring that music to life at such an extraordinary level completely altered my perspective—it was a turning point that solidified my path.
You’ve worked with major companies like Marvel, Amazon, and Illumination—how did those opportunities come about, and what have been your most memorable experiences?
I had the opportunity to work with these companies on their trailer and promotional campaigns while serving as an in-house composer at Eternal Music Group. I joined the team in 2020, right at the height of the COVID-19 pandemic, when much of the film industry had come to a standstill. Initially, I was focused on writing library music, but after landing a sync placement on Marvel’s WandaVision, I transitioned into the role of a customs composer. In that position, I was responsible for creating bespoke trailer music tailored to clients’ needs, as well as reimagining existing songs—often referred to as “trailerizing” them—to fit in a specific trailer context.
One of my favorite projects was working with percussionist Joe Martone to create a trailerized version of the I Love Lucy theme for the Being the Ricardos trailer. Joe brings so much creativity and enthusiasm to every project, and he was the secret sauce that made the music work. Another major highlight was collaborating with Linkin Park on an official trailer remix of their song, Crawling. They were a huge influence on me growing up, so getting to work with their catalog was truly a dream come true.
Can you share your experience working on Grace Point? What kind of musical themes and tones can audiences expect?
Grace Point was an incredible full-circle moment for me. It marked a reunion with director Rory Karpf, who was the first filmmaker to ever trust me with scoring a project—his ESPN series Snoop & Son: A Dad’s Dream—back when I was still in high school. To reunite years later and collaborate on both of our first scripted feature films was a truly special experience.
Rory brought me on board from the very beginning, allowing us to shape the film’s musical identity even before production started. We worked closely through the script, developing a unique sonic palette and crafting thematic ideas early on. This gave us the freedom to experiment and explore unconventional sounds—I spent a lot of time bowing cymbals, metals, and other unusual instruments to create eerie textures. One of the most defining elements of the score is an old hammered dulcimer that I bowed and manipulated through granular synthesis, resulting in haunting pads, drones, and effects that became a key part of the film’s sound.
The score itself evolves alongside the mystery of the film. It starts off ambient and textural, with most of the early melodies carried by a solo cello—beautifully performed by Trevor Jarvis. As the story unfolds, the instrumentation gradually expands, culminating in a full string ensemble playing a complete iteration of the main theme by the finale.
Working with Rory is always an incredible experience, and this project was no exception. We both learned so much throughout the process, and we’re excited to bring that knowledge into future collaborations.
What’s the most valuable insight you’ve gained from working with composers like Tom Holkenborg, Michael Kramer, and Patrick Kirst?
I’ve been fortunate to work with a number of incredible composers over the past few years, each offering invaluable lessons across different aspects of the craft.
From Tom Holkenborg (Junkie XL), I gained firsthand insight into what it takes to operate at the studio film level—managing large teams, handling complex technical setups, and maintaining an unwavering attention to detail. Working with Michael Kramer taught me the power of musical storytelling at the highest level and reinforced the importance of surrounding yourself with talented, trustworthy collaborators. And from Patrick Kirst, I learned the distinction between craft and art—when to lean into one, when to blend both, and how to refine a composition with precision.
Each of these mentors has shaped my approach to composing in meaningful ways, and I’m incredibly grateful for the knowledge and guidance they’ve shared with me.
How do you balance your work as a composer, orchestrator, and arranger across different types of projects?
It can definitely be challenging, but in today’s industry, versatility is essential. As composers, we’re expected to swiss army knives and pivot between roles seamlessly. The past few years have been particularly tough for everyone in the field, making it more important than ever to diversify and stay adaptable.
If I had to pinpoint the key to managing these different aspects of the job, the honest and maybe boring answer would be early, open, and honest communication. Setting clear expectations from the start helps ensure that everything runs smoothly, even when juggling multiple projects. And when you’re working with good people, there’s a mutual understanding that we’re all in the trenches together—collaboration and flexibility go a long way in making it all work.
All that to say, sink or swim baby.
What’s your usual process when starting a new project? Do you begin with melodies, themes, or a specific instrumentation?
My process varies depending on the project, but more often than not, I start the old fashioned way, on the piano with pen and paper. If I can establish a strong theme early on, it provides a solid foundation that makes the rest of the process flow more naturally.
That said, some projects require a different approach. For Grace Point, for example, we began with texture and sonic experimentation rather than a traditional melody-first method. The film’s emphasis on subtlety called for a more atmospheric approach, so we spent time exploring unique sounds before the main theme naturally emerged later in the process.
One key lesson I’ve carried over from my work in trailers is the importance of a signature sound—something that sets the sonic palette apart. So while I’m writing themes at the start of a project, I’m also searching for distinctive instruments and textures that will define the score’s identity.
When working on animation projects versus live-action, how does your approach to composition change?
As always, it depends on the project, but generally, animation requires a more precise and reactive approach to composition. There are often more visual cues to hit—whether it’s a comedic moment, a dramatic cut, or a big action beat—so timing becomes a crucial part of the process.
Last year, I had the chance to work with the incredible Joy Ngiaw on Season 1 of Barbie Mysteries (Netflix), and for that show, meticulous sequencing and tempo mapping were essential before even beginning to write. I often found myself humming ideas into voice memos just to feel the natural rhythm of a scene because there were so many specific beats to hit at all times (I will take these voice memos with me to the grave).
In contrast, Grace Point required a much more restrained approach. I tried to write away from picture as much as possible, and actually composed a significant portion before filming even began. A major note from actor/producer John Owen Lowe during the early edit was to embrace subtlety, so I kept that in mind throughout the process, ensuring the music didn’t overemphasize on-screen moments but instead supported the storytelling in a more nuanced way.
You have experience in both scoring and trailer music—how do the creative demands of these two fields differ?
Both scoring and trailer music are creatively demanding but in very different ways. In scoring, the focus is on musical storytelling—developing memorable themes, shaping emotion, and ensuring the music serves the picture seamlessly. It requires patience, nuance, and the ability to adapt to the evolving needs of a film or series.
Trailer work, on the other hand, is all about impact, speed, and production value. Because trailers follow a structured format—typically built in three acts—maintaining form and timing is crucial when writing to a brief. Turnaround times are lightning quick, often delivering a fully realized piece of music in 12 hours. Unlike scoring, where music is tailored to fit a pre-existing edit, trailer music is often created first, with editors then cutting the visuals to match. In that sense, trailer composition and film scoring are opposites—one leads the edit, while the other follows it.
Do you have a dream project or genre you haven’t worked in yet but would love to explore?
I’m drawn to projects that evoke a sense of awe and wonder, and I’ve always had a deep love for the action/adventure scores of the ’90s—the kind that instantly transport you and make you feel like a kid again. Lately, there have been some incredible scores that capture that same magic, and getting the opportunity to write for a film in that vein would be a dream come true. Scoring the next Ready Player One, Jungle Cruise, or even The Wild Robot would be an incredible experience—anything that blends adventure, heart, and a touch of nostalgia.
Are there any upcoming projects you’re particularly excited about that you can share details on?
While I can’t share specifics just yet, I have some really exciting projects in the pipeline that I can’t wait to reveal soon. In the meantime, I’d love to give a shoutout to my recent collaborators, Joy Ngiaw and Brian H. Kim—two incredibly talented composers and even better humans to work with. Both are nominated for an Annie Award this year, and I couldn’t be more thrilled for them.
Finally, if you could collaborate with any musician or composer, past or present, who would it be and why?
In a dream scenario, I’d love to work alongside some of the giants of film scoring—legends like Bernard Herrmann and Jerry Goldsmith, whose music not only shaped my own influences but also helped define the industry as we know it today. Their innovation and storytelling through music were truly groundbreaking.
On the flip side, there are so many incredible composers working today who are pushing boundaries and redefining the craft. Composers like Ludwig Göransson and Kris Bowers are at the top of their game, creating fresh, bold, and innovative scores. They’re exactly the kind of industry disruptors we need right now, and collaborating with them would be an amazing experience.
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Thank you for reading! You can learn more about Theron Kay here.
