My Creative Practice


Film and music are not just my business. They are my life.

Not a day goes by without songs by the likes of Beyoncé, Panic at the Disco, Depeche Mode, Harry Styles, and The Carpenters streaming through my headphones.

Not a night goes by without watching another film or TV series, from The Grand Budapest Hotel, The Prestige and Parasite, to The Mandalorian, The Split and Taskmaster.

All the composing and conducting I do aside, this means that I spend a lot of time breathing my practice as well as living it.

I apply the same principle of immersion to any new project I start. For example, to research for my soundtrack to “Address the Court” (2022), I had the opportunity to visit the set on an exclusive tour of the formidable Bristol Old Crown Courts. Pacing those dilapidated prisons couldn’t help but inspire brooding, despair and menace, the same feelings the director wanted to portray, and the same feelings I channelled into my soundtrack.

I enjoy composing film music, because I love storytelling and I believe music is an integral part of making storytelling personal. Film presents a narrative, but music can present the emotion. Film explores the meaning of stories, but music helps us interpret why these stories and meanings matter to us. As an audience, it leads us to become immersed, partisan and emotional. Film music leaves a moving legacy, it coaches and subverts our expectations.

For this reason, I’m always interested in discovering new and different sound worlds, including diverse international music styles, to create new colours and new feeling. New projects are always challenging me to apply my Grade 8 performance skills on piano, violin, voice and percussion to create something fresh, meaningful and bespoke. By pushing the limits of my creativity, I can also push the limits of my audience emotionally.

This is a tantalising and unpredictable process, measured and rewarded in reactions. However, it does have one tenet: I cannot expect of my audience any more than I have expected of myself.

Therefore, when I immerse myself in a new project with humility and an open-mind, I know I have found the right way to start.



David Simkins is an MA Music with Innovation student at the University of Bristol and a Film Soundtrack Composer with an enthusiasm for storytelling, problem-solving and seeing creative ideas through.

During his time at Bristol, David has conducted the University Chamber Orchestra, Galenical Chamber Ensemble, the Operatic Society, Symphonia Philharmonic and Symphonia Symphony Orchestra, with a repertoire ranging from Beethoven’s Egmont Overture and Dvorak’s New World Symphony to Maria Carey and Mary Poppins.

Alongside his studies and extra-curricular involvement with many orchestras and ensembles at the University, David works as a film composer. His Grade 8 performance skills on piano, violin, voice and percussion and his key understanding of orchestration and arrangement for different ensembles allows him to create bespoke music. In 2021, his feature-length soundtrack to thriller “The Reckoner” debuted on Amazon Prime. David’s portfolio has continued to grow with professional projects he has composed, conducted and produced in association with local artists, directors and ensembles. These include: Bournemouth Symphony Orchestra’s Kokoro ensemble; Dorset Youth Orchestra; Richard Irwin Music; and Red Hat Productions.

With a place for Composing for Film, TV & Games at the National Film and Television School, he has a lot more to come.

Contact Details

Please get in touch if you'd like to collaborate! Find me on Facebook, Instagram and LinkedIn: @davidsimkinsmusic. Mobile: 07398 342416. Email: