A recipient of many scholarships, Vincent was then selected for the Sundance Institute, where he had the opportunity to work under the supervision of noted film composers Edward Shearmur (Sky Captain & The World Of Tomorrow), Rolfe Kent (Sideways), George S. Clinton (Austin Power's Trilogy), Mark Isham (Crash), and Thomas Newman (American Beauty), among others. Since then Vincent has been working without pause, scoring no less than 35 feature films, and his music has been rewarded by 9 best score awards. His career has also been the subject of two documentaries.
a composer conveys the filmmaker's vision, the collaboration
has been successful. Vincent firmly believes that a solid
knowledge and understanding of cinema is essential for scoring
a movie and communicating successfully with the director.
To that end, Vincent wrote a thesis on film music, sharing
his analysis of the different fruitful collaborations between
legendary filmmakers and composers (Eisenstein/Prokofiev,
Hitchcock/Herrmann, Godard/Duhamel, Marshall/Newman,
etc.), discussing the multiple, and sometimes remote, functions
of music in a movie.
Knowing and understanding what our elders achieved
is the best way to tread new territories. Stravinsky believed that "A work of art should be unpredictable, and at the same
time unavoidable". It is a sentiment Vincent believes
and always strives toward. Vincent’s attraction to a
project is not so much about the story, but how it is told.
The principle behind Vincent's work has been to give each
movie a unique musical identity, distinct from all others.