In 2001 I founded Finite Music, a studio and record label that specialized in music for films & TV. We were a team of composers, music supervisors, engineers and music editors. For our first feature film “Danny in the Sky” we received a nomination for the 2002 Jutra Award for Best Original Score.
For “3 Saisons”, I worked with popular Québecois actors like Caroline Néron and Romano Orzari. The film won a multitude of awards internationally. For the award winning documentary “The Eye in the Son” by Moment Factory, I incorporated into the music the sound of footsteps on snow, wind and heavy breathing to re-create the environment of Mont Everest.
The most ambitious film I’ve worked on was “PURE”, directed by Jim Donovan. As composer, music supervisor, and music editor, I re-created the immersive world of after-hours electronic clubs and the trippy, hypnotic journey a DJ takes you on. The music wasn’t just background — it was a character in the film.
I licensed 27 tracks from marquee artists like Ian Pooley, Chromeo, Misstress Barbara, Max Graham, Chris Brann and LSG. For the film’s climax, I remixed a track by UK world-beat pioneers Suns of Arqa, which led to joining the band and collaborating on six of their albums.
We filmed inside iconic Montréal venues including the after-hours club ARIA and the Rialto Theater. I also appeared on screen as a DJ, alongside Montréal legends Laflèche, Maus, and Miguel Graca.
For the premiere, we threw a wild launch party at Festival du Nouveau Cinéma, where I performed live with VJs from Moment Factory. I released the official soundtrack on my label Finite Records. We did the album launch at the film festival Le Rendez-Vous du Cinéma Québécois.
In television, my work has focused primarily on Music Supervision and Rights Clearance. I’ve negotiated over 500 music licensing contracts. On “Urban Myth Chillers” for Universal and “The Business” on IFC, I had the opportunity to work alongside internationally recognized actors Omar Sharif and Kathleen Robertson. I worked on documentaries for National Geographic & Discovery Channel, as well as scripted series such as “Jack of Diamonds” for Showtime and “21 Thunder” for Netflix & CBC.
My largest television project was Family Biz, a 26-episode series for YTV. The production schedule was extremely tight, leaving no room for delays caused by prolonged music-rights negotiations. To streamline the process, I leveraged my licensing network of composers, record labels, publishers, and bands to assemble a large library of pre-cleared music, organized by mood and musical style. Fees were agreed upon and contracts signed in advance, so every track’s cost was known upfront.
This system allowed editors and directors to instantly find the right music to cut to. No time was wasted editing to uncleared temp music, saving the production significant money while ensuring all broadcast deadlines were met.
For the Le Clan series on Radio-Canada, I developed a distinctive musical identity we dubbed Shediac Gothic — a hybrid of Americana folk, the sensual melancholy of trip hop, and the synth driven tension of industrial music. I created a playlist for the entire crew so that this musical mood would guide their work in pre-production. Over two seasons, I oversaw the show’s musical direction, hired the composer and licensed tracks from grunge icon Mark Lanegan, alongside leading notable Canadian artists Lisa LeBlanc, Radio Radio, Les Trois Accords, and GrimSkunk.
