Starnes' BIOGRAPHY

Home Credits Music & Video Contact	T I M _S T A R N E S M U S I C __E D I T O R __/__E N G I N E E R
	Tim Starnes recently edited the music for Barry Levinson’s The Bay (2011), assisted Howard Shore as a music editor for Hugo (Paramount, 2011), A Dangerous Method (2011) and Twilight: Eclipse (Summit, 2010). He also supervised the music production on the Indian features, Dekh Indian Circus (2011) and Aarakshan (Prakash Jha, 2011) and the Korean feature, Poongsan (2011) . He also edited the music for the feature films The Beaver (Summit, 2011), Raajneeti (Prakash Jha, 2010), and Remember Me (Summit, 2010). In addition, he worked on Der Grosse Kater (2010), The Informant! (2009), Taking Woodstock (2009), Sin Nombre (Focus, 2009), Soul Men (Dimension, 2008), Doubt (2008), and Chelsea On The Rocks (DeerJen, 2008). He edited the music for several documentaries including Alive Day Memories (HBO, 2007) and a cartoon TV special, Tom & Jerry: A Nutcracker Tale (Warner, 2007). He also worked as a music editor on DeNiro's The Good Shepherd (Universal, 2006),
	Bob Shaye's The Last Mimzy (New Line, 2007), Martin Scorcese's The Departed (Warner, 2006) and The Aviator (Miramax, 2004), and on Peter Jackson’s King Kong (Universal, 2005) and The Lord Of The Rings: The Two Towers and The Lord Of The Rings: The Return Of The King (New Line, 2002,3) feature films and DVDs. Starnes orchestrated and arranged Baroque period music for Lasse Hallstrom’s Casanova (Touchstone, 2005). In 2004, Starnes made his theatrical composing debut in Clara's Christmas Dreams, a musical theatre adaptation of The Nutcracker, which performed in New York City through the end of 2004. For composer Stephen Endelman, he orchestrated and arranged And Starring Pancho Villa As Himself (HBO Films, 2003), Blue Butterfly (Galafilm, 2003), and De-Lovely (MGM, 2004). Starnes currently teaches Film Music Editing, a graduate class at New York University, where he co-leads the annual Buddy Baker/ASCAP Film Scoring Workshop. In 2003, he received a master's degree in Music Technology with Tonmeister certification from NYU. There, he studied with Dr. Ron Sadoff, director of film scoring, Sonny Kompanek, orchestrator and arranger (A Knight's Tale, The General's Daughter, Fargo), composer Marc Antonio Consoli, and he composed the scores for several graduate student films. Before obtaining his master's degree, Starnes worked as a music recording engineer for 9 years and for 12 years as a director of video post-production for CBS and ABC affiliates and post-production houses, winning 3 national Telly awards. He continues to engineer music recordings and edit video productions today. For several years, his father, Dr. Robert Leland Starnes, was the director for the Yale Dramatic Association. Tim grew up carefully observing his father’s musical choices to accompany drama, tragedy, and comedy. These experiences have given him the unique advantage of being able to look at film, or any dramatic content, from a director's perspective. Classically trained on the guitar and violin, Starnes has worked with a variety of ensembles and with a variety of musical styles including classical, jazz, ethnic, and popular. During his undergraduate years, he was the musical director for the university’s musical theatre productions. Starnes is looking forward to continued work as a music editor and engineer.

T I M _S T A R N E S
M U S I C __E D I T O R __/__E N G I N E E R

Tim Starnes recently edited the music for Barry Levinson’s The Bay (2011), assisted Howard Shore as a music editor for Hugo (Paramount, 2011), A Dangerous Method (2011) and Twilight: Eclipse (Summit, 2010). He also supervised the music production on the Indian features, Dekh Indian Circus (2011) and Aarakshan (Prakash Jha, 2011) and the Korean feature, Poongsan (2011) . He also edited the music for the feature films The Beaver (Summit, 2011), Raajneeti (Prakash Jha, 2010), and Remember Me (Summit, 2010). In addition, he worked on Der Grosse Kater (2010), The Informant! (2009), Taking Woodstock (2009), Sin Nombre (Focus, 2009), Soul Men (Dimension, 2008), Doubt (2008), and Chelsea On The Rocks (DeerJen, 2008). He edited the music for several documentaries including Alive Day Memories (HBO, 2007) and a cartoon TV special, Tom & Jerry: A Nutcracker Tale (Warner, 2007). He also worked as a music editor on DeNiro's The Good Shepherd (Universal, 2006),

Bob Shaye's The Last Mimzy (New Line, 2007), Martin Scorcese's The Departed (Warner, 2006) and The Aviator (Miramax, 2004), and on Peter Jackson’s King Kong (Universal, 2005) and The Lord Of The Rings: The Two Towers and The Lord Of The Rings: The Return Of The King (New Line, 2002,3) feature films and DVDs.

Starnes orchestrated and arranged Baroque period music for Lasse Hallstrom’s Casanova (Touchstone, 2005). In 2004, Starnes made his theatrical composing debut in Clara's Christmas Dreams, a musical theatre adaptation of The Nutcracker, which performed in New York City through the end of 2004. For composer Stephen Endelman, he orchestrated and arranged And Starring Pancho Villa As Himself (HBO Films, 2003), Blue Butterfly (Galafilm, 2003), and De-Lovely (MGM, 2004).

Starnes currently teaches Film Music Editing, a graduate class at New York University, where he co-leads the annual Buddy Baker/ASCAP Film Scoring Workshop. In 2003, he received a master's degree in Music Technology with Tonmeister certification from NYU. There, he studied with Dr. Ron Sadoff, director of film scoring, Sonny Kompanek, orchestrator and arranger (A Knight's Tale, The General's Daughter, Fargo), composer Marc Antonio Consoli, and he composed the scores for several graduate student films.

Before obtaining his master's degree, Starnes worked as a music recording engineer for 9 years and for 12 years as a director of video post-production for CBS and ABC affiliates and post-production houses, winning 3 national Telly awards. He continues to engineer music recordings and edit video productions today.

For several years, his father, Dr. Robert Leland Starnes, was the director for the Yale Dramatic Association. Tim grew up carefully observing his father’s musical choices to accompany drama, tragedy, and comedy. These experiences have given him the unique advantage of being able to look at film, or any dramatic content, from a director's perspective.

Classically trained on the guitar and violin, Starnes has worked with a variety of ensembles and with a variety of musical styles including classical, jazz, ethnic, and popular. During his undergraduate years, he was the musical director for the university’s musical theatre productions.

Starnes is looking forward to continued work as a music editor and engineer.