Alastair McNamara

Composer for Film, TV and Games

Dragged Up

Dragged Up is a comedy drama about family, identity and drag that follows a shy and awkward teenager who secretly uses her drag king persona to find the inner confidence she needs to show her family who she truly is.

Dragged Up was a wonderful reminder that simplicity is beautiful and less is often much much more. I collaborated with close friend and composer Joseph Stevenson to create a sound that matched the earnestness and intimacy as well as the humour and joy of the film, restricting ourselves to a stripped back, palette - mostly two guitars, ukulele and bass. This simplicity was beautifully offset by the gutsy raucous source music written by the brilliant Athena Varosio before Joe and I were brought on board and shaping our cues to prepare and follow from her thumping tracks was a joy.

Festivals

Iris Prize - Best British Short, Nomination

Credits

Writer & Director: Laura Jayne Tunbridge

Producer: Danielle Goff

Cinematographer: Arushi Chugh

Production Designer: Milly White

Editor: Lesley Posso

 

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Composers: Alastair McNamara, Joseph Stevenson, Athena Varosio

Sound Designer & Re-recording Mixer: Miles Sullivan

Colourist & Online Editor: Nigel Tadyanehondo

Production Manager: Kate Mant

Production Sound Mixer: Luise Guertler

The Clearing

The holiday of a lifetime! Or a final attempt to save a failing marriage. Bill and Deb struggle to see eye to eye, as their last ditch camping trip takes a sinister turn. The Clearing is a surreal, poetic, animated short about ego, jealousy and the stories we tell ourselves.

Finding a musical language for The Clearing was a real exploration with Director Dan Hope, beginning with references from 70s prog rock, the kind of music Bill might listen to in the van, through to sounds one might associate with the campfire and life in the forest, and into a completely strange musical world that matched Bill's delusions. I was also keen to pursue a theme which represented Bill throwing off his denial and facing the truth as it was, and keen ears can hear the Dies Irae on recorder in these moments in the film. Fundamentally the music had to guide the audience through the various layers of reality that the film traversed, as well as helping shape the arc of Bill and Deb's relationship over the short, from ominousness, to last chances and eventually something totally unexpected.

Festivals

BFI London Film Festival - Selection

Ottowa International Animation Festival - Student Short, Nomination

Credits

Writer & Director: Dan Hope

Producer: Johannes Schubert

Cinematographer: Joseph Guy

Production Designer: Adrian Makarewicz

Editor: Tomasz Kowalski

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Composer: Alastair McNamara

Sound Designer & Re-recording Mixer: Markus Andreas

Colourist & Online Editor: Francis Qureshi

Production Managers: Elena Storozheva-Golovushkina & Kristín Ósk Sævarsdóttir

 

MUSE

1980. A bright young photographer is pushed to the edge by his teacher’s seductive philosophies and unorthodox methods, all in the name of great Art. Because everyone knows trauma is the essence of all the greatest art...

Whilst MUSE is a period piece, I was eager that the score to stay true to the ideas that drove the story, rather than letting 80s sounds define the music. George's blooming from student to artist is felt both thematically and in the use of instrumentation - solo violins grow gradually to a string quartet and eventually a full string orchestra.

Credits

Writer & Director: Lisa Clarkson

Producer: Jack Pollington

Cinematographer: Charlie Jenkins

Production Designer: Eve Finnie

Editor: Walteri Vanhanen

 

 

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Composer: Alastair McNamara

Sound Designer & Re-recording Mixer: Dominika Latusek

Production Sound Mixer: Kim Bradfield

Colourist: Francis Qureshi

Production Manager: Nia Campbell

 

Ringo!

Ringo is a bold, provocative, satirical musical short about the relationship between a racist, homophobic, right-wing father and his vegan, lesbian, left-wing daughter. Terry and George argue over Christmas lunch and this spirals out of control to tragic consequences.

I am so grateful to have been able to write music and lyrics for this project and being involved from the conception of the story and writing the text through to the orchestration and the final mix. Mining the tropes of Musical Theatre history to instantly bring out the attitudes of the characters was something we had a lot of fun with in development - letting the saccharine new age optimism of 70s musicals speak to George's newfound utopian politics and the dumpy, cheeky-chappy qualities of the 50s, Mary Poppins/Chitty Chitty Bang Bang renderings of cockneys speak to Terry's backwards facing, good-old-days outlook.

Credits

Director: Emma Jane Gilbertson

Executive Producer: Emma Hanson

Writer: Oscar Redding

Composer and Lyricist: Alastair McNamara

Cinematographer: Kit Mackenzie

Production Managers: Elizsa Diaz & Kristín Ósk Sævarsdóttir

 

 

 

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1st Assistant Director: Alice Arbuthnot

Editor: Oli Bauer

Sound Designer: Joe De-Vine

Production Sound Mixer: Luise Guertler

Colourist/Online Editor: Marco Valerio Caminiti