Geoff Zanelli · Composer, Squadron 42Oh, right. Yeah, no, okay, I went off to Berklee College of Music, which is in Boston, and I studied there. They had an engineering production track, and they had a film scoring track, which is now called media scoring. And at the time, it was focused on film and television. It was actually kind of before games was even really an industry that you could consistently work in. I mean, I'm talking about the early 90s. This was like the beginning of game composer as a full-time calling. But when I finished at Berklee... I started interning, actually, even while I was at Berklee. I would come out in the summers to LA and I would intern for Hans Zimmer, who is a film composer. He was writing The Lion King score when I first met him. To put a date on it, I think that's 1994. And I was his intern until I graduated Berklee a couple of years later. And then I came out and worked for another composer who worked at Hans' studio named John Powell. That was really the first job that I had. I was John's assistant. And I did that for three years. And then I got my last promotion. I went freelance and became composer. So that would have been right around '99 or 2000 is when I went freelance as a composer. And if you look at my credits, you'll see I worked as what's called an additional music composer on John's movies, which means maybe I do a couple of the scenes here and there, but he was largely responsible for the score. Then I did that for Hans on a number of projects. And I suppose the notable kind of breakout project like that for me was the first Pirates of the Caribbean movie, where it was written rather quickly. I think we had two or three weeks to write the whole score. So it was Hans and a team of like eight or nine composers, of which I guess I sort of moved to the head of the class, so to speak, on the project. And that was kind of the beginning of the real Jeff Zanelli as composer story, I guess.