Composer Miho Nomura
Conducting Creativity

"For documentaries we're always dealing with true stories, with facts. This allows me to express more of what I and the director feel through the music. Short films are a little different because there is the concept behind the film that affects everything. There is less room for me to express what I personally feel about the scene or film in this case." Miho Nomura

CC: Now you started playing the organ at very early age. How did that come about?

Miho Nomura: I don't remember exactly, but according to my mother, we had an organ at home and I just started playing with it everyday.
 

CC: What sort of organ was it?

Miho Nomura: It was an Electone by Yamaha. I continued to play it, doing performances, until I was about 20.
 

CC: And then you moved to piano?

Miho Nomura: Yes. I started playing piano when I went to Berklee, because they didn't have this type of organ. So I was forced to change to piano.
 

CC: So how difficult was that?

Miho Nomura: Oh well...it's not the same. It was a little difficult, but not too bad.
 

CC: What lead to you writing film music?

Miho Nomura: Even before I went to Berklee, I was interested in scoring for television or film. Then, while I was at UCLA, I studied with Jerry Goldsmith. I never thought that I'd really seek after it, but the opportunities came my way.
 

CC: What was your first scoring assignment?

Miho Nomura: It was for a student film, "One Hour as a Butterfly." It was actually a musical, so it was quite fun working on that project.
 

CC: How did you come to write music for DVD documentaries for classic film releases like THE SEARCHERS or CAT ON A HOT TIN ROOF and then music for DVD menus?

Miho Nomura: I guess I was just lucky! (laughs). I was working with some very talented directors and producers at AFI and they have continued to ask me to write music for their projects. I am very comfortable working with them, so it is a good fit. Also, I have a diverse skill set in writing music since I am classical trained at UCLA and studied Jazz at Berklee. So my unique background become my strength so I could be able to write music for DVD documentaries like X-Men 2.5, Alien Quadrilogy, Fantastic Four and Prison Break as well.
 

CC: When writing the music for DVD bonus features attached to these classic films, did the original scores from the film's themselves have much influence on what you wrote or were purely concerned with what the director of the feature wanted?

Miho Nomura: A little bit of both. I would generally have the main theme of the film in mind while writing, but a documentary doesn't require such dramatic music. I had to be careful not to disturb the dialogue.
 

CC: Is it easier or more difficult to write music for documentary of this nature versus one for a short film?

Miho Nomura: I actually like writing music for documentaries more than for short films.
 

CC: Why is that?

Miho Nomura: For documentaries we're always dealing with true stories, with facts. This allows me to express more of what I and the director feel through the music. Short films are a little different because there is the concept behind the film that affects everything. There is less room for me to express what I personally feel about the scene or film in this case.
 

CC: Alongside of your composing, you've become very active in the promotional side of the music business in both Asia and Los Angeles. Did you always have that as a goal?

Miho Nomura: That was by accident, but some would say there are no accidents! I had an opportunity come my way and I just took it. I always wanted to take advantage of being Japanese - connecting my Japanese heritage with the entertainment industry in L.A. I wanted to integrate my roots into my career so I could contribute to a wide variety of capacities in different music projects.
 

CC: Being a composer/producer in L.A., do you find many other Asians in the business?

Miho Nomura: No. Actually not. I wish there were. We could do a lot of projects together if there were. I met a few people but they eventually returned to their base in Asia. Whenever I go to any entertainment function, I'm usually the only Asian.
 

CC: You work a lot in China, Japan and Korean. What is the music industry like there in Asia? Is it similar to the West of very different?

Miho Nomura: It's very different. They have their own music scene, but they are adopting things from Western music all the time. They are appreciative of Western music more than ever, yet at the same time, they still have a conservative way of doing business and in how they produce and handle the projects.
 

CC: What was your first gig as an executive producer?

Miho Nomura: I was the executive producer for the Stevie Wonder Japan Tour in 2007. I actually started working on it in 2004. It was a long project! It really allowed me to use a different part of my creative abilities. Yet, there were some similarities to the work I had been doing for years.
 

CC: So do you want to continue to both composing and producing?

Miho Nomura: Yes. I'd like to do both.
 

CC: Sounds like that will be a great challenge.

Miho Nomura: For me, it's not that difficult, because, as I mentioned, there are some similarities between the two: composing and producing. For me, they are both creative activities where you have to direct a lot of different elements to get a very specific final result.
 

CC: Do you feel the same sort of fulfillment when completing a score or completing a successful business venture like the Stevie Wonder tour?

Miho Nomura: Yes. I do.
 

CC: What do you have coming up for the composing side of your career?

Miho Nomura: Well, I just got a new administrator, Jay Warner, so I have some new Anime composing projects coming up.
 

CC: So are these projects for this year?

Miho Nomura: Yes and I'm very excited about it.
 

CC: Well, thank you so much for taking time from your double-busy schedule today!

Miho Nomura: Thank you very much!