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Follow the Rain
Directed:  Catherine Marciniak

Written:  Catherine Marciniak & Stephen Axford

Composers: Romano Crivici & Carla Thackrah

Produced: Catherine Marciniak & Stephen Axford Planet Fungi

The Last Violin
Directed:  Carla Thackrah
Composer: Romano Crivici

Written:  Carla Thackrah & Romano Crivici

Produced: See Tea Produxtions



-Best Documentary - Cyprus International Film Festival, 2023

-Best Documentary - Bridges International Film Festival, Greece, 2023

Hotep -Know Thyself
Directed:  Petri Salo

Written:  Petri Salo & Axel Sutinen 

Filmed in Portugal & Finland



-Best Experimental Film -Chicago Indie Film Festival, 2022

-The Best Experimental Film -International Manhattan Film Awards, 2022

-Best Experimental Film -Toronto Film Magazine Fest, 2022

-Selected for Cannes (TBA)

Excerpt: 3:37

Running With the Boys

Directed by Tony Chu

Script and screenplay - Annie Cossins

Produced by Annie Cossins

Teotiuhacan Productions, 2007.

Distributed internationally by Quat Media, and in the UK by Shorts Space

I received an email, from across the abyss of years from my old friend and fellow musician Axel......"could you compose some music for a section in a stream-of-consciousness film we are working on, the concept is very Gothic Horror, melodramatic.....ideally it should be an orchestral score...ideally with a budget, but in truth there is none!?"

Needless to say, the project was fun, particularly including the grand organ, which took me back to the days I was passionate about the organ, and worked as organist and choir-master in a number of churches in Sydney during the 1970's

A symphonic synthetic score, my music was the orchestral component of the sound track, played 'straight', as well as being cut up and played backwards, etc!

Composed: April, 2019

Screened at seven overseas festivals, Running with the Boys is a harrowing film, I am told, on first viewing - even more so, emotionally and psychically after the 10th, 30th ... 50th time, as I went through the various scenes, over and over again; composing, testing ideas, adjusting the timings and refining the music/emotional subtext/context in which the dialogue and storyline unfolds.

But it was only after the film was completed, when I found the voices as well as the music still continuing, that I realised some things from the darker side of the human psyche cannot ever be quite resolved.

Recorded on a shoe-string budget, I am indebted and grateful to the musicians who, ever patient, gave their time, expertise and creativity to help me realise the score.

Anthony Heinrichs  -trumpets

Romano Crivici  -violin and piano

Rudolf Crivici - viola

Alex Henery  -acoustic and electric bass;

Jess Ciampa  -percussion.

Dark Bass
The Drip
Written, produced and directed by Nick Tantaro

It’s amazing what one can do with no music budget, a keyboard/synthesiser, a violin and only one evening in a recording studio.

Composing (and performing) the score for this delightfully quirky and funny short film was great fun. The pseudo-baroque ‘finale’ section that can be heard in this excerpt was a satisfying way to help bring some of the profound issues being ‘explored’ to an appropriate psycho-dramatic resolution.

Home of Blizzard

Home of the Blizzard

for piano, percussion and pre-recorded wind instruments.

Commissioned:  Sydney Film Festival


Performed by Elektra Collektiv Unconscious at the Sydney Film Festival (1994) and 10 Days on an Island Festival (Tasmania) 2003 to original footage by Frank Hurley of the Mawson expedition to the Antarctic

Review: “…a taut score took a cool modern look at dated images of boyish adventurers braving the pole.”                                                                   (Hobart Herald)

This score was an ‘experimental’ performance approach to a strange film, which consisted of a series of different, although not particularly related scenes shot by Frank Hurley on the now famous Mawson expedition to the Antarctic in the early 20 century.


Commissioned as a performance project by the Sydney Film Festival, it was screened with a score/soundtrack I created for live musicians, (improvising on piano and percussion) as well as pre-recorded material for wind instruments (clarinet, oboe/cor Anglais and French horn) in certain sections of the film, giving it an almost symphonic feel.

Home of the Blizzard was a remarkable film, an almost dream-like collection of different scenes: human, animal, and awesome and desolate nature which, even without sound speak for themselves.

Linda Walsh -oboe and cor anglais

Peter Jenkins -clarinet

Toby ? -French horn

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