The boutique Nylon Studios, focusing on music and sound design for TV spots out of offices in New York City and Sydney, Australia, has won a raft of awards including two London International Advertising Awards for original music, Gold and Silver Cannes Lions, and a variety of local Australian honors. Nokia, Sony, Target, JC Penney, Ford, and Toyota are some of the headline brands for whose campaigns Nylon has created music and soundtracks. Musician and composer Johnny Green worked at Australia's Supersonic for six years before joining Nylon in 2005, and since then, he's worked on global campaigns for Visa, Nissan, and Nivea and U.S. spots for Farmer's Insurance directed by Noam Murro. We asked him five questions about his own work and other projects that inspire him.
Q: What are you working on today?
Axe Anarchy 'Supplies'. A Michael Bay-esque ad with lots of fast boats, hot chicks and guys racing towards a party island, shouting "Dun Da Da Da Dun". Quite hilarious. Filmed in the Caribbean.
Q: What's the best tool or innovation that you've started employing in the last year?
Universal Audio's Studer A800 Tape Machine Emulator & Universal Audio's Ampex ATR-102 "sounds like a record" plug-in. The ATR-102 plug-in is awesome because you can almost emulate the well-roundedness in both the low and high ends of the frequency spectrum to achieve a warmer mix overall — like how a record plays back, as opposed to a CD or straight digital bounce to disk.
Here's a picture of the GUI:
Q: What project — film, TV show, commercial, or music video — most impressed you in the last year? And why?
Foreign Beggars & Noisia: "No Holds Barred (Excision RMX)." I think this video clip speaks volumes for itself — a visual and musical attack of the senses. O_o. [Editor's note: momentarily NSFW.]
Q: What's your favorite project that you worked on in the past year? And why?
I really liked working on "29 Palms" by the Hoffman Brothers @ Harvest Films because it was a vibey short film applying music and visuals only. It was like writing a score for a David Lynch short. I applied lots of loud textural distorted guitars, pads and high-pitched strings for tension. Loved working on it.