The Path

The Path: Making The Score (part 2)

When it comes to the music of The Path, Composer Jason Medwid has taken the time to share his side of the story

Being asked to compose music for The Path was definitely an honour and I approached the task with a mixture of excitement and fear. Sam and Justin have a well-deserved reputation for being exacting, temperamental artists and I knew a collaboration with them would be rewarding and extremely challenging. 

After watching a silent rough cut of The Path, I saw how its clearly articulated narrative and symbolic structure could be nicely mirrored and supplemented by the music.  Sam and Justin supplied examples of the kind of soundworld they wanted for the film (which ranged from modern film scores to what I can only describe as bizarre, Scandinavian funhouse music) and based on these, I quickly worked up a first cut of the first 90 seconds of music.

A couple hours after submitting the first draft of the music to Guerrilla, a five-minute long, expletive-laden tirade was left on my voicemail by person(s) unknown. Though it never referenced The Path directly (in fact, it made no sense at all),  I took the message to mean that the music hadn’t gone over well. I realized that we needed a different approach. I invited Sam and Justin over to Sounds Fine Studios and together we`d put together the sonic palette from which the score would be made. 

Guerrilla arrived at the studio ready to work. Sam arrived clearly agitated about something and he continued to get angrier as we worked. Justin, who arrived with his ever-present pink girls`T-ball bat in hand, seemed content to menace rather than communicate.

We agreed on types of musical elements the score should have and set to work trying to find the right sounds.  As the sounds were selected, Sam and Justin grew more enthusiastic. The descriptions of what they wanted also grew stranger: “I want this to sound like an avalanche of pasta smashing into a cabin”, “Could we get a sound like a helicopter flying through Jell-O?”, “We need a sound here that’s like the howl of a T-Rex at the height of mating season.” I did what I could with these eccentric suggestions and from what I could tell, Guerrilla was becoming satisfied with the sounds we were selecting.

I have to admit the whole process wasn’t some kind of wine and cheese party. There were definitely moments of tension. There was a certain point on which I wasn’t prepared to compromise.  I knew that midway through the film, if the music suddenly morphed into a slowed-down, psychedelic version of the theme from The Flintstones, it would really drive home the floating, unearthly atmosphere of the film. Sam and Justin rejected the idea (“No fuckin’ way” and “Christ, no” were two of the milder comments). But I stood my ground. Unfortunately, I forgot about the pink girls’ t-ball bat.  It settled the argument.

I lost the battle, but together, we won the war.  Sam and Justin were satisfied with the score and I was happy to have survived the collaboration.  Future collaborations have been suggested and it sounds like my participation isn’t optional.  I’m sure I’ll be fine...


-Jason Medwid

Guerrilla Profile: Shawn Knievel

Guerrilla Profile

As I'm sure most of you are aware film making is a collaborative process. That's no different here at Guerrilla Motion Pictures. It's not just Sam Reid and Justin Kueber that do everything. On past projects we've worked with a number of talented actors, musicians and technicians so we're going to start highlighting certain individuals that give so much to our projects and make them that much better. Providing a short bio, examples of his or her work and links to their respective websites is our goal with these entries.

Our first Guerrilla Profile is Shawn Knievel who was our director of photography on our short film The Path.





Shawn knew in high school that he did not want a normal job, he wanted to be a film maker, before he even knew what that meant. Four years at Red Deer College gave him the skills and helped hone his imagination to do what he had always dreamed of.  In 2013 his film Dear 604 won best student film at the AMPIAS. He has been nominated for best cinematography and has had a handful of other nominations for his work. Shawn continues to work as a lamp op with IATSI 212 and shoot projects of his own on the side.


Examples of Shawn's Work as a Director of Photography:



Shawn's Demo Reel:


Shawn's IMDB Profile:


Shawn's Production Company's Website:


You Can Find More of Shawn's Work Here:




The Path: Making The Score (part 1)

We'll be going into more detail about the music for The Path in the coming weeks once the film is released but here's a short entry covering a bit of the process of scoring the film.

Last week Jason Medwid started work on the music for our upcoming short film The Path. We spent a few hours in his studio finding the the right sound for the film. It was awesome seeing the set up Jason has (you can get a glimpse at it in the included picture).

The two of us (Sam & Justin) are big fans of electronic music and we knew early on that we wanted that style of music in The Path. We expressed to Jason early on in the process that we didn't want the soundtrack to be full of melodies but rather be more of a sound scape. It had to have that dream-like quality and express musically what the main character was feeling in each given moment. We used music by composer Cliff Martinez (Traffic, Drive, Contagion) as an example of what we felt was the right style.

So far we've received some examples from Jason for the first bit of the film and we're happy to say that it's turning out very well. This has been our first experience working with a composer and it's been a rewarding experience, we can't wait to unleash this film to you all!

Composer Jason Medwid at work on The Path

Composer Jason Medwid at work on The Path


You can find out more about Jason Medwid by following The Smile Syndicate on Facebook or by visiting his website here: