“Heather wrote all the music for over a dozen short animated films [produced by Red Star] and for our first feature STARDOG AND TURBOCAT.
From the start working with her really was transformational in terms of the process of how we dealt with music. She would take the script (and often a storyboard or animatic we’d produced; sometimes scored with temp music) and a brief; and she’d very rapidly begin to sketch out ideas for the score, concentrating always on finding the core melody that would hook the audience in and represent the story and themes we were trying to get across.
Her working process is very intelligent; because she would work and work on the simplest part of the theme and make sure it was 100% right before going off and filling in the detail and actually scoring against picture.
The simple upshot was that her music dramatically increased the quality of entertainment and storytelling we were delivering; to the extent where the music wasn’t incidental; but was front and centre in the experience and really helped sweep the audience up in whatever story we were trying to tell.
Plus, she’s a real pro in terms of the actual business of scoring and the practicalities of fitting music to picture and she always turns changes or revisions around quickly and efficiently and it always, ALWAYS ends up sounding great!.”
Ben Smith director/producer – Red Star 3D
“Heather created a bespoke instrumental track for TCC in 2021. Heather was great to work with and delivered a fantastic track which met our brief and timelines. I highly recommend working with Heather.”
Issy Neal-Hooke, Creative Producer – TCC
“Heather Fenoughty’s score is a wonderfully stylish feature of this film adding a theatrical but also other-worldly element of tension.”
Mirren Wilson, reviewing ‘The Good Book’ (B. Chapman / Slung Low, 2020) for A Younger Theatre
“It was such an utter joy to work with Heather again, and this time on such a large event. She is a clever, brilliant woman. Her work is always exactly what I need and she is open to working together to make changes as we go. She was actively present throughout the event to help make it sound the very best and I am so grateful for her talent, her patience and commitment. Always a joy.”
Lucy Hind Lane, director/co-choreographer – ‘Pals’ Dance from The National Commemoration of The Centenary of The Battle of The Somme (2016)
“It has been such a pleasure to work with Heather on ‘The Aviatrix‘ – she constantly responded to a varying brief and delivered wonderful music within a tight timeframe.“
Helen Morrell, producer – ‘The Aviatrix’ (2014)
“Heather is by some distance the most talented, most consistent, reliable and generous composer I have ever worked with.”
Alan Lane, Artistic Director of Slung Low
“Heather provided an excellent soundtrack for one of our interactive experiences, ably adapting to the exacting demands of our client’s curators and delivering a compelling, dynamic and memorable experience that will serve the [V&A’s Venetian Masquerade Interactive Film] permanent exhibit perfectly for the next decade.
She fitted in perfectly as part of our larger production team and her professionalism and dedication helped us deliver the quality our clients expected, on-time and on-budget.”
Adrian Ward, Director of Clay Interactive
“Heather is the most exciting talent in sound design today. Just keep doing what you do in the magical way you do it.”
Steve Nesbit, director – ‘Curio’ (2010)
“…the music and sound design are exquisite. This is not incidental music; it is a soundtrack worthy of cinema…”
Matthew Taylor, reviewing ‘Tis Pity She’s A Whore‘ (2010)
“Heather is easily one of the best composers for film/TV and other moving image projects living and working in Yorkshire. There’s not really much more to say than that! You will NOT be disappointed should you choose to contract her. She’s also the loveliest! :-)”
Ed Cartledge, Director at Sort Of Films
“Working with Heather is a great pleasure. She has that rare combination of extensive technical skill combined with genuine creative talent. I find myself in awe of her dedication, attention to detail and quality of output. Her scores better my expectations and heighten the project as a whole.”
Kevin Tams, Director at Copacetik Productions
“Heather really understood the tone of what I was trying to create with Silica and where I was coming from, despite it being an abstract piece… With Silica I had only an impression of how I wanted it to sound.
“Heather patiently took my fragmented thoughts and created something haunting, extraordinary and better than I could have imagined. Working with Heather was fun, creative and really comfortable. The sound design for Silica stood out as a focal element but at the same time bled into the piece as if it had always been there.
“What is so great about working with Heather is that I felt at ease to express my thoughts and ideas through a few words of phrases and she interpreted them in the sound design perfectly. I would love to work with Heather on future projects.”
Victoria Pratt, Theatre Maker – ‘Silica’ (2010)
“Her music was just what we were looking for“
Justin Rossbacher, Director – Advertisement
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“Working with Heather was a pleasure as well as a professional eye-opener. For me as a first time director, Heather was both efficient and inspirational. Her knowledge and skill definitely added to the results of my film and I would certainly work with her again. The whole process was an education and I’m sure Heather could be adaptable in terms of working with a first time director to the more experienced in our industry.
Her contribution helped evolve my film to a higher level.”
Steve Waddington, Director – short film ‘Forever and a Day‘
“Heather’s commitment and talent make her a joy to work with. She truly understands the power of sound.
She helped push my film to the next level – and the music she wrote for the finale still gives me the chills every time.”
Sue Everett, Director – ‘Mother, Mine’
“Heather has always made a significant creative contribution to our productions… her originality has a chameleon-like ability to write in different styles to meet the needs of our films.
“An example of this is found in our feature length documentary, ‘Crossing The Line’…that saw Heathers work sit effortlessly alongside original compositions from multi-award winning Craig Armstrong, whilst retaining her own distinctive score.
“Heather’s exemplary contribution to all of our films illustrates the mastery of her craft and the maturity of her compositions.“
Peter Haddon, Creative Director – VeryMuchSo Productions
“Heather’s original composition and creative sound design helped create an authentic atmosphere in my film ‘Private Life’. Heather’s music really enhanced the period setting of the film, accentuated the excitement of the narrative and revealed the emotions of the characters.
“I am convinced that Heather’s score assisted greatly in the success of the film and I would have no hestitation in highly recommending Heather to other film makers.”
Abbe Robinson, Director ‘Private Life’ (Mad Cat Films, 2006)
“Thank you so much for working with me on Terre Haute… everyone loves your composition… you captured everything I imagined and have made a fantastic contribution to the production.”
George Perrin Creative Director – ‘Terre Haute’, Nabokov Theatre Company
“Heather is a great composer and sound designer. She hits deadlines and plans clearly and effectively. We worked together on a project for Slung Low Theatre and Heather helped made the project easy and fun to complete.”
Gordon Okafor-Ross, Creative Director at Creative Universe Ltd
“Composer Heather Fenoughty has provided a score using guitar and strings with a touch of Celtic folk sound whose sweetness underscores the contrast between this largely restrained exchange and the violence that is being talked about…”
Review of ‘Terre Haute‘ , British Theatre Guide