Composer Mark Speckman interview by Jill Renae Hicks

When the first pulsing minor notes of the locally made documentary “Zielinski” ushered in clips of the oft-controversial and eponymous central figure of the movie, viewers at True/False Film Fest might have been lulled into thinking synthesized sounds were everything composer Mark Speckman was about. The gloomy and rhythmic bloops of “electronic music” — Speckman’s term — set up the tone of the film with a pounding aura of mystery.

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