Meet the Team: James Cox - Founder & Lead Composer of Occult Audio
Meet the Team: James Cox - Founder & Lead Composer of Occult Audio
Welcome to our Meet the Team series, where we get to know the incredible talent behind Occult Audio. Today, we're excited to introduce you to James Cox, our founder and lead composer. James is not just the creative force driving our music but also the heart and soul of what makes Occult Audio tick. Let’s dive into his world!
Tell us a bit about your role at Occult Audio. What does your day-to-day look like?
I’m the founder of Occult Audio and also its lead composer. My days at the moment revolve around doing a lot of behind-the-scenes work: everything from web updates and email communication to client outreach. On top of that, I’m writing music whenever I can squeeze it in, while also being a stay-at-home dad as my youngest transitions to nursery over the next few months. It’s definitely a juggling act, but it’s rewarding to see Occult Audio growing alongside my own family.
How did you get into working in audio/sound design/composition? Was there a particular moment or experience that sparked your interest?
Picture Courtesy of LIFF 2023
My love for film really started it all. Whenever I had any spare money, I’d head down to Blockbuster and buy whatever videos (and later DVDs) were being sold off after rental—whether I knew anything about them or not. It didn’t matter what the genre was; I just loved movies. Back then, going to the cinema was a lot cheaper too, and a bunch of us would often go to watch two films back-to-back on a Saturday. It was that immersion in all kinds of stories and genres that eventually pulled me toward the music behind them. I wanted to help shape the kind of emotional experiences that had fascinated me growing up.
What’s your process for approaching a new project? Are there any rituals or habits that help you get into the right mindset?
I really enjoy reading a script and coming up with ideas before I see the picture. I find that writing directly to the picture can sometimes limit creativity, as you’re more constrained by the visuals right from the start. So I often begin by composing musical themes or little suites just from the script. This allows me to explore different ideas freely, without the pressure of matching exact moments in the scene. Once I have those ideas sketched out, I can adapt them or shape them to fit the picture, which often leads to more dynamic and interesting results.
What are some of the most exciting projects you’ve worked on with Occult Audio?
One of the most recent ones was Fright. It’s so different from a lot of films being made right now, and it really challenged us creatively to do something unique. I also loved working on Stay Calm by Chas Harrington—an absolutely intense drama short that unfolds entirely in one location. The intensity of working within such constraints really pushed us to be inventive with the score, and the end result was something I’m really proud of.
What’s your favorite part of the job? Is there a particular aspect of the creative process that you love the most?
Honestly, just getting to do this job is amazing. Waking up and being able to create music for a living is something I never take for granted. I’d say my favorite part is the initial creative stage—those first moments when the ideas are just flowing, some good and some terrible, but it’s all part of the excitement. Especially when you have full creative freedom, that sense of possibility is the most exhilarating. It’s like exploring uncharted territory, not knowing exactly where you’ll end up.
Working On Sons Of The System with Director Lizzie Mounter
Who are some of your biggest influences or inspirations in the audio world?
One of the first cassettes I ever owned was the score to Star Wars: A New Hope by John Williams, and I played it endlessly. His work was definitely a big influence on me. I also have a deep love for Joe Hisaishi—his work is so evocative and timeless, spanning not only film scores but also other types of media. The way he manages to capture both grandeur and intimacy is something I’ve always admired.
What’s one thing about your job that most people might find surprising?
I think people are often surprised by how much business and administrative work goes into this kind of career. There’s this romantic notion that a composer’s life is all about sitting in front of a piano or computer and simply creating, but the reality is there’s a lot of emailing, scheduling, and behind-the-scenes organization that needs to happen. Sometimes you have to really fight to make room for the actual writing. But when you do finally get to that creative part, it makes it all worthwhile.
When you’re not working on music or sound, what do you enjoy doing? Any hobbies or interests outside of audio?
Family is super important to me, and we love spending time together, whether it’s playing board games or getting outdoors. Beyond that, I’m also a volunteer Lifeboat Crew member for the RNLI, which is an incredibly rewarding and often quite exciting role. It’s a great opportunity to give back to the community, and it brings a completely different set of challenges compared to composing—which I think keeps life balanced.
