Paul Houseman

Into film sound. Composer and sound designer.

Me and music

I began my journey into the world of music as a 12-year old kid, who found endless inspiration in Japanese RPG’s (role playing games), and of course their in-game music. I spent my days drawing comics and designing my own RPG’s with detailed fantasy and sci-fi worlds, characters and stories.

Never having even touched a musical instrument before, I found a freeware MIDI-sequencing software from the internet and started to doodle around with it. Suddenly the basic rules of music started to make sense to me, and eventually my own RPG’s were brought to life with music played from the computer speakers during the gaming session.

As a teenager, not having much other social life came with an advantage: I was able to deepen my understanding of music and sound in a lonely but creative environment. I don’t have formal training in music (which I have huge respect for), but have no regrets about it. Learning music theory by “trial and error” made me what I am today.

Then came film music. I realized that composers like John Williams, Danny Elfman, Hans Zimmer, Alan Silvestri and Jerry Goldsmith were like my long-lost brothers. Their music made me feel like I was connected to their lives, and made me feel the urge to be a part of that world. I started my own humble music website, and even managed to get some gigs in Australian and American short films. Eventually it skyrocketed.

To me, music and sound is a strongly visual experience. I visualize all sound in color, texture and movement. Being able to paint, craft and mold sound as if it were a sculpture or a painting is satisfying and endlessly interesting to me. This is why bringing visual images to life with sound is what I like to do. I like having an impact to the emotional response of the audience without undermining them. I like subtlety and structure, and I like minimalistic drama. But rocking the cinema with huge and epic ear-candy is also great!

Some years ago I met with Tapsa over the internet and we just clicked. Finding other enthusiastic film composers in Finland wasn’t easy at all.. He introduced me to Teemu and Erno over a couple of beers in the centre of Helsinki. We became friends.

I’m now at the end of my studies in film sound design in Helsinki, and have found it an unbelievable experience. The things I’ve learned from our country’s top film sound professionals have been eye-opening to say the least, and are a great asset in every area of my work. I love working together with enthusiastic people and make their movies as good as they can be. My key philosophy is that when scoring a film, I’m not “making music”. I’m making a film. After more than 30 short films, many commercials and other projects, I only want to do more. I feel the sound department is where I want to be in any project. It’s my lot of choice.

Now, a few years later we (Tapsa, Teemu, Erno and me) met and started a new chapter in our lives: Reveltone. I’m very excited to see where we are in the future!

Paul's showreel

Pictures of the man