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Meet Liam Rice of Woodhouse Music in Tarzana

Today we’d like to introduce you to Liam Rice.

Liam, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
Growing up in England I always had a passion for music – cliché I know, but everyone has to start somewhere. I was fortunate enough that my parents fully supported and encouraged my early forays into the world of music, regardless of how less-than-wondrous I’m sure the early results were. As a result, I was able to explore and grow as a musician, taking lessons in some instruments and figuring others out as I went along.

In my early teens I began to pay attention to the soundtracks of the movies I was watching at the time, which quickly became a deep curiosity for the art of writing music to picture – be it film, television or elsewhere.

I went on to study music production at Leeds College of Music in the UK, where I first realized that perhaps my fascination with music for film and TV could possibly become a career rather than a hobby. In my third year of study in Leeds I shifted the focus of my study more toward film composition, with the hopes of turning it into a career.

In 2017, I was very lucky to be in a position to accept a place at Columbia College Chicago, studying a masters in music composition for the screen. During my two years in Chicago I got to work with and learn from countless talented names in the industry, without whom I’d certainly not be where I am today. I was able to grow as a musician and as a person, and I am forever grateful to those who were a part of that journey with me.

I graduated and moved to Los Angeles in the summer of 2019, and began working as an assistant for composer H. Scott Salinas on his score to the film ‘The Banker’. Scott was my first introduction to working in the industry, and I couldn’t have asked for a better welcome.

Soon after I was invited by Matthew Margeson to join the staff at Hans Zimmer’s Remote Control Productions, where I have been working as an assistant and additional composer ever since.

Has it been a smooth road?
Being a musician in any professional capacity – be it as a performer, writer or technician – is always fraught with risk – but it can be incredibly rewarding. Each new project I set out on feels like a rollercoaster ride – while you’re in the middle of it, stressed and sleep deprived you ask yourself “why on earth am I doing this?”, then as soon as you finish you can’t wait to go round again. I’ve been extremely fortunate that I’ve been able to make a living from what is essentially my hobby – not many people get to say that.

We’d love to hear more about your work.
Currently I work as an assistant and additional composer with Matt Margeson at Remote Control Productions in Santa Monica, as well as working as a composer in my own right, as a music editor and as a score mixer. I’m lucky to have met a broad range of co-collaborators, contacts and friends across all parts of the film and music industries, which has contributed to me working on a number of different projects in all sorts of roles. While I consider myself a composer first and foremost, I enjoy the challenge of taking on projects outside of the scope of my usual work.

Is our city a good place to do what you do?
LA is a tough nut to crack – especially in the world of film music – but if you can get in it’s an incredible place to work. So much of the film and TV we consume is created here – some of the finest creative talents from all corners of the arts industries are all concentrated here. It means you’ll face stiff competition a lot of the time, but whenever a door closes there’s always another further down the street that’s open a crack.

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Image Credit:
Eron Rauch

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