About

Ghazvinizadeh,  the college-campus drama University Heights by Scott Beck (writer, A Quiet Place), the witty Chinese romantic comedy No Marriage by Zhan Wang, produced by Tencent and Fox International, the intimate Southern comedy The Fox Hunter by Patrick Shanahan, featuring Madison Iseman, the horror-slasher Chain Letter by Deon Taylor, featuring Nikki Reed and Brad Dourif, the Swiss thriller Verso by Xavier Ruiz, featuring Laurent Lucas, the modern western comedy Cut Off featuring Malcolm McDowell and Faye Dunaway, and the documentary The Invocation by Emmanuel Itier, narrated by Sharon Stone and featuring Oliver Stone and The Dalaï Lama.

Before relocating to Los Angeles, Vincent’s curiosity and passion for a wide array of styles led him to study classical music at the Geneva Conservatory of music, where he graduated with the highest distinctions, and Jazz at Berklee College of Music in Boston where he graduated Summa Cum Laude. His classical and Jazz educations, his progressive rock and metal “upbringing” as a guitar player, and his never-ending curiosity for new colors, create an infinite palette of resources to serve Vincent’s ambition to give each movie its own distinctive voice, like the hesitant toy xylophone of They, the exuberant string quintet with banjo of The Fox Hunter, the large poignant orchestra of The Medium, the cold electronic score of Verso, the tongue in cheek songs of No Marriage, the English baroque/avant-garde tone of The Appearance of Things, or the intimate Jazzy atmosphere of God’s Waiting List.

Vincent is completely immersed in the movie while writing its score. Last Breath director Ty Jones speaks about their collaboration, “It was liberating to have Vincent collaborate on my project, because he has a genuine passion for Cinema. The scoring process was an enriching constructive journey to the heart of the movie that breathed life into a score of a dazzling emotional depth.” Vincent’s special attention to craft a unique score that excels in serving the story is also praised by soundtrack specialists, such as Kayas Savas of Film Music Media, “The score is a wonderfully and expertly structured thriller. It builds a nice emotional platform before plunging us into the dark dreary world of the film. The long tracks really show off how well the music is telling the story.”

Consequently, his scores have been awarded 9 Best Score Prizes so far, such as the SUISA Prize given during the 58th Locarno Int’l Film Festival. “In explaining its decision, the Jury observed that, ‘In the movie God’s Waiting List, the music is employed with an exceptional subtlety, so that it is not only used as an ornament, but plays an intrinsic and major role in the movie. Vincent Gillioz showed a great flexibility to adapt his skill to the demand of the images. Audacious and skillful, he ventured down different stylistic paths and showed himself capable of covering a broad musical range. Gillioz’s music is as much flexible as touching. It is an excellent painting of the environment, without artifice, true and modern in its musicality. In brief, his artwork demonstrates great inspiration and extraordinary creativity.’ The jury also praised the exceptional professionalism of his composition.”