AG Rojas reveals his Creative Playlist

Mica Levi, Under The Skin

Though the film polarised opinion, Levi’s score was incredibly striking. Since its release, I’ve spent many late nights writing to it. It’s a great record if you’re looking to tap into the more dramatic depths of your imagination.

Max Richter, Memoryhouse

This is without a doubt what I listen to most when writing. It has a lot of range and is incredibly cinematic. The sporadic incorporation of practical sounds and mysterious narration is helpful when attempting to get into a very specific mood.

Michael Nyman, The Draughtsman’s Contract

Nyman’s music is intrinsically tied to [director Peter] Greenaway’s images, which means it’s appropriate when I am attempting to conjure up more whimsical or surreal moments. It features the greatest track titles ever.

John Coltrane, A Love Supreme

I was introduced to jazz through my father’s old Dexter Gordon tapes, which inspired me to pick up the saxophone as a teenager. I still listen to his Tangerine quite often, but the effect Coltrane has had on me is undeniable. This is just a beautiful record to put on, whether you’re designing a treatment or entertaining a friend.

Gil Scott-Heron, I’m New Here

I was lucky enough to work on Mr Scott-Heron’s last video so, apart from the dramatic beauty of his voice and the provocative nature of his lyrics, I have an emotional connection to this that I cherish and revisit when writing. Jamie xx’s reimagining of the album is incredible as well.

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