The human behind
the machines.
Matt Thomas — Matt Mosquito to the credits — has spent two decades scoring television: Warner Bros drama, Disney songs, a Pringles Christmas heard across Europe, Emirates cabins at 38,000 feet, and the official opening of the London 2012 Olympic Stadium.
His club tracks got picked up by Rob Da Bank for Ibiza dancefloors and Radio 1; his score for Nissan's Oculus Rift project put him at the frontier of immersive tech years before AI filmmaking existed. So when the machines finally caught up, the composer simply picked up a camera that doesn't exist — and now writes, directs, animates, edits, scores and mixes complete films as a one-person studio with a broadcaster's discipline and a mischief-maker's instincts.
"The tools are new. The taste took twenty years."
The heart stays human: his son voiced the lead in Alicanto, and every score is written the old way — by ear, for the story. AI is the crew. Matt is the studio.