FILM / TV
COMMERCIAL
NYCB | “The Sleeping Beauty”
FELA + Remy Martin | “Capture the Night” (dir. Jackson Tisi)
SAMSUNG USA | Gus Kenworthy “Letters of Influence”| dir. Michael Clarke
TED ED | “How Did Ancient Civilizations Make Ice Cream?” | Animation: Masayoshi Nakamura “Good General”
MAYO CLINIC “Pet Rock” | TBWA/CHIAT/DAY | dir. Madeline Kelly
FACEBOOK PAY | prod. Special Guest
TSMC “Silicon Seeds” | Special Guest / BRUT
WSJ + The&Partnership | “Connecting the Dots”
LIFETIME MOVIES “Deadly Resolutions” | prod. Cause + Effect
SCHOLASTIC “Books Bring Us Together” | prod. Houses in Motion
UNIVERSAL “Minion Mashup” | prod. Cause + Effect
THEATER
“I had two main questions about the world premiere Kennedy Center commission of HOW TO CATCH A STAR: would it match the original children's book's ability to appeal to kids and adults alike, and would it be as visually charming as Oliver Jeffers's illustrations? I'm pleased to report that the answer to both is a resounding yes.” - Barbara Johnson, BWW
“Stunning, to be sure. Transcendent, even.” - Alan Katz, DC Theatre Scene
Additional theatrical samples available upon request.
PRESS
“The electronic score, by Zak Engel, deceives rather than bombards the ear, using chirrups, clicks, and skirls.” ULTRASOUND | Anthony Lane | The New Yorker
“…Zak Engel’s score — full of eclectic and menacing electronic noises that are directly related to the plot’s bombshells — further contributes to the material’s disorienting quality.” ULTRASOUND | Nick Schager | Variety
“Sonically, the selection from Zak Engel was perfectly matched to the jewel toned film. The score added all the intensity and thrills needed to raise the stakes for the viewer.” ULTRASOUND | Alex McGaughey | Black Film
“By the end of Ultrasound, I was entranced by Zak Engel’s score…” ULTRASOUND | Alix Turner | 25YL
“Zak Engel’s synth-heavy score works well with Bobb Barito’s disorienting sound design to replicate the effect.” ULTRASOUND | Noel Murray | LA Times
“Zak Engel helps the audience be further pulled in to the film’s slippery world. His more traditional scoring feels reminiscent of some of the more melancholic moments of Reznor & Ross’ soundtrack work, without being derivative of it. Perhaps even more impressive is the menacing mumble of clicks, beeps and high pitched squeals across the soundscape, adding both atmosphere and a meta element to subtly enhance the film’s themes.” ULTRASOUND | G.G. Graham | Wicked Horror
“…blessed with a subtle electronic hum of a score from Zak Engel…” ULTRASOUND | Richard Whittaker | The Austin Chronicle