They Said

“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.”
– The Jury of the SUISA Prize, 58th Locarno International Film Music Festival

“There is too much bass!”
– Vincent’s Mother

“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.”
– Kayas Savas, Film.Music.Media

“Vincent truly understood the complex psychology of the characters when scoring Erosion.”
– Ann Lu, writer-director (Erosion, Dreamers)

“Without a doubt Vincent Gillioz is a composer of note, a composer who is full of wonderful compositions and innovative musical ideas.”
– John Mansell, Film Music Site

“A fun and friendly guy who is a pleasure to work with and who brings in an endless supply of fresh musical ideas. Vincent has a knack for finding the essence of a character and for tying him/her in to the overall arc of the story.”
– Gene Duffy, writer-director (Living With Uncle Ray)

“That’s great Vincent! Why are you so damn good? You get whatever needs to be done within a few hours or the next day, and you get it done right. It’s really unheard of.”
– Chris Richardson , writer-director (My Politics, My Country)

“Gillioz’s themes are strong and his orchestrations highlight them to great effects. This is well-constructed music where motivic ideas and aural effects combine to create the sort of unified listening experience that reveals more depth on repeated listenings.“
– Steven A. Kennedy, Film Music Monthly

“Vincent is above all else a fellow storyteller. He would not stop working until I was thrilled with every single note.”
– Cartney Wearn, writer-director (Pray For Morning)

“The fusion of his extensive musical knowledge and his European heritage have been a blessing on our collaborations. We have explored everything from Gregorian chant to eastern European atonal music to Jazz.”
– Aaron Lindquist, writer-director (Made Incorrect, A Simple Film)

“A fascinating score with a rich sound design and a very compelling musical structure, nicely conceived and executed.“
– Randall Larson, Soundtrax

“Vincent constantly challenged my preconceived notions of what the music should be, and by continuously introducing new, sometimes unorthodox ideas, left me pleasantly surprised again and again.”
– Boris Undorf, writer-director (Sonata, Random Encounter)

“It was great to work with someone as professional, and well -damn quick. Vincent’s patience also was a thankful relief as we went through several iterations of the movie before finishing.”
– Stefan Avalos, writer-director (The Ghosts of Edendale, The Last Broadcast, The Game)

“The dissonances heard in the music of ‘Collapse’ are reminiscent of the experimentations undertaken by ‘Alien 3’ composer Elliot Goldenthal. Without sounding cacophonous, the music, led by guttural horns, develops a monstrosity as beautiful as terrifying.”
– Loïc Valceschini, Daily-Movies

“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.”
– Ty Jones, writer-director (Last Breath)

“My favorite track is actually the opening track ‘Last Breath’ which is a beautifully crafted theme.“
– Jorn Tillnes, Soundtrackgeek

“Vincent is exactly what I look for in a member of my creative team: he’s a collaborator. He brings a lot to the table and his contributions are priceless.”
– Paul Tarantino, writer-director (Headhunter, Courting Courtney)

“The biggest role in this movie(Sonata) belongs to the music.”
– Folcoln, IMDb Sonata review

“Vincent’s eclectic but coherent score that goes from a string orchestra to a Jazz trumpet solo via distorted electric guitars, played a major role in the storytelling without drawing attention to itself.”
– Duane Adler, writer-director (Step up, Save The Last Dance, God’s Waiting List)

“A thundering and unmerciful powerhouse of a soundtrack. Vincent Gillioz’s talent is immense and his attention to detail and also his efforts to remain original are evident and entertaining.”
– John Mansell, Movie Music International

“Since Vincent and I don’t live in the same city. Vincent regularly uploaded the scored scenes on the internet, and then we would talk about them over the phone. I have been blown away by Vincent’s score, and am still dazzled by the endless options the internet provides in the making of a movie.”
– Franz Josef Holzer, writer-director (L’Ecart, Deux)

“The music for Collapse works remarkably well away from the movie. A lot of that is down to the attention that the composer has given to the project, pouring over every aspect of the score and making numerous decisions that mean there’s a reason for why every sound is present in the music: a process that seems to be lacking in a lot of scores of this type.”
– Alan Rogers, Reel Music

“Vincent worked on Tupilak until the very last minute. To tell the truth, he even insisted to reorchestrate the last piece in the plane that was taking us to Budapest for the recording sessions.”
– David Leroy, writer-director (Tupilak, Brutalos, Trifle)