Where did you grow up?

I’m originally from Oregon, I was born in a little town south of Oregon called Corvallis.

What did you dream of becoming as a kid?

I’ve honestly dreamed of becoming a musician since I was five years old. When I was five years old I started playing drums and I’ve never really wanted to do anything but that. Much to my dad’s dismay they wanted me to play piano and even bought a piano for the house but I would just bang on it. I was kind of a one track minded kid. One day when I was ten I came home and wanted to play the piano and my dad just about shot himself in the face.

Did you actually play drums or pots and pans?

Yeah, I started with pots and pans. Both of my parents were professional musicians and there was always band gear setup in some part of our house. I think I got started on their drummers drums in our basement but eventually they got tired of buying new kitchen equipment and bought me a drum set.

What kind of instruments do your parents play?

My dad is a bass guitar, accordion, and pedal steel player, lots of blue grass instruments. My mom is an incredible singer and in her younger years she was a drummer. I think it was sort of hereditary that I became a percussionist.

What was your first real step into the music industry?

I played professionally in bands since I was about thirteen years old. So I guess on a regional level I was making money at it since I was thirteen. My dad would take me to the gigs and of course they were all twenty one and over gigs. During the breaks I would have to leave the building because it was illegal. While waiting for the breaks to be over my dad would take me outside and we would eat burgers on the his hood of his car. When I graduated from high school I went on tours with several bands playing rock shows and arenas. After that I moved to Los Angeles from Oregon for the specific purpose of getting into film. I’ve always been a huge fan of film music.

My first real job in television was being the principal composer for Monday Night Football during the 2002-2004 seasons on ABC Sports. That was a huge break because I got acquainted very quickly with how to write for television and to turn it around in days. So that was really where I really cut my teeth. I began to do more production work after that composing music for Entertainment Tonight and several other sports shows. I did a lot of stuff like that when starting out and it really helped me hone my productions skills.

What’s the most memorable score that you’ve composed?

It seems like your favorites are always the most recent, I just finished a movie score called “The Way Home” and I had a great orchestra performing the music. That was a ton of fun. I was commissioned by the Olympic Committee to create themes for the US Olympic Swim Team during Michael Phelps gold medal run. I did a number of themes for the telecast last year and those were a lot of tough nights of writing because we kept winning. It was a great honor to be able to do something for the Olympics. When I was a kid John Williams themes were off the charts.

I’m also a studio drummer playing for several artists including Tina Tuner, Chris Cornell, and Kenny Loggins. I’ve just had the opportunity to do some really fun stuff.

Where did you hear about Disqus?

We built our blog for ScoreCast and at the time we used the blogger comment system. One of our readers said “Your guys comments suck, we can’t figure out how to login etc”. We basically said “tell us what we don’t know” and someone mentioned Disqus. Our webguy Jai Meghan looked into it and Disqus was the most clearly outline format as far as people being able to find stuff and getting registered with our community. The community page is great page as we’re a community of composers, orchestrators, contractors, and musical players. That’s really what Scorecast is about building community and trying to get the community to grow smaller as it get larger if that makes any sense. Disqus has really helped us do that.

What’s Scorecast Online?

Scorecast started in 2006 with my assistant. I would receive emails from aspiring film composers asking questions “How do I make the transition into film music?” and instead of trying to email all these people back getting bogged down with that, I started doing the podcast.

Someone wrote to me from NYU considering  our podcast as recommended listening resource for students. I realized that I needed to stop goofing off and get serious. I asked my friend Lee Sanders that does all the music for the Amazing Race if he would help out and we created Scorecast Online. We call it the virtual hangout for the musical creative. Basically we have a team of twenty five musical composers that write articles daily. It’s kind of a electronic news paper by people in the industry. It’s not really a fan sites but a resource if you’re really serious about getting into the film music.

What’s your favorite Disqus feature?

I really dig the Facebook Connect as I’m a big Facebooker. I appreciate not having to have eighty diffetent screenames to gain access. Just being able to login with my Facebook account and having everything integrated is nice. I really like how clean your system is.

If you could add anything to Disqus, what would you add?

I can’t think of anything I would add to the Disqus system.

When is the last time you composed music for yourself?

Oh man, that’s a sore subject. I don’t get the chance to do that quite a bit as most of what I do is written to picture. For the first time in a very long time I was commissioned to write a symphony and it’s a charity based thing to raise some money for kids in the town where I grew up in Oregon. I’m excited about that as I’ve not written anything independent of film in eight years. This will be an interesting exercise in freedom.

To learn more about Deane visit his twitter, website or Disqus Profile.