Residence: United States of America
Official site: Vincent Gillioz
Vincent Gillioz was born in the French speaking city of Geneva, Switzerland. With music always present in his life, he grew up playing guitar in heavy metal bands. Refining his musical education, he moved on to Jazz at Berklee College of Music in Boston, earning a dual bachelor's degree - summa cum laude - in Film Scoring & Performance (Guitar). Upon graduation from Berklee, Vincent returned to Switzerland to study composition and orchestration at the Geneva Conservatory of Music, Here he was awarded Highest Distinctions; the first in his curriculum to receive such an honor in 15 years.
Gillioz moved to Los Angeles in the summer of 2001. Shortly thereafter, he scored his first feature film and assisted renowned film composer William Goldstein (Fame, Wes Cravenís Shocker). He also met one of his favorite composers, Golden Globe-nominee, Christopher Young (Spiderman 3, Ghost Rider, The Exorcism Of Emily Rose, Runaway Jury, The Grudge, Shipping News, Hellraiser), who, impressed by his music, became Vincent's mentor.
A recipient of many scholarships, Vincent was the only composer recommended by Young for the 2002 Sundance Institute, where he had the opportunity to work under the supervision of noted film composers Edward Shearmur ( Sky Captain & The World Of Tomorrow ), Rolfe Kent ( Sideways ), George S. Clinton ( Austin Power 's Trilogy), Mark Isham ( Crash ), and Thomas Newman ( American Beauty ), among others. Since then Vincent has been working without pause, scoring no less than 30 features in the last 5 years, winning two years in a row the Gold Medal for his scores at The Park City Film Music Festival, being awarded the SUISA Prize for Best Score ( God's Waiting List ) at the 58th Locarno International Film Festival, and the Moondance Columbine award at the Moondance International Film Festival for his score to Pray For Morning , while two of his other scores made it to the semi-final of the competition. His rapid success has been the subject of two documentaries.
When a composer conveys the filmmaker's vision, the collaboration has been successful. Vincent firmly believes that a solid knowledge and understanding of cinema is essential for scoring a movie and communicating successfully with the director. To that end, Vincent wrote a thesis on film music, sharing his analysis of the different fruitful collaborations between legendary filmmakers and composers (Eisenstein / Prokofiev, Hitchcock / Herrmann, Godard / Duhamel, Marshall / Newman, etc.), discussing the multiple, and sometimes remote, functions of music in a movie.
'Knowing and understanding what our elders achieved, is the best way to tread new territories. As Stravinsky said, 'A work of art should be unpredictable, and at the same time unavoidable'. It is a sentiment Vincent believes and always strives toward. Vincentís attraction to a project is not so much about the story, but how it is told. The principle behind Vincent's work has been to give each movie a unique musical identity, distinct from all others.