During the project I kept in close contact with my client checking at each stage that she was happy with my decisions and progress. Armed with research from a day spent at the LRF library, a trip to look around HMS Victory in Portsmouth and scans of the plans (that took several days to naturally flatten due to their age), I started working on quick sketch models to gain an idea of scale and which part of the ship I thought would be interesting. However, my project only spanned the time of 8 weeks so in order to complete the model I had to make the project a manageable size. I was inspired by such models that had been made of HMS Victory that displayed each deck and where the guns and storage barrels were stowed. Much of the ship's method of fishing depended on its interior, so I was keen to make a sectional model that showed both the interior and exterior of the vessel.
We quickly became intrigued to find more about the vessel, Robert Miller, and decided it was perfect for my project.Īfter some time, I returned to LRF's London office to do further research into the type of vessel, as we came to find it was called a welled fishing smack, an old type of fishing vessel that was quite unique. It was the most detailed plan we had found and the more we looked into the plans the more interesting features became apparent. We found some plans of a vessel from 1872 that had both a longitudinal and a mid-ship section plan. Many of the plans were not complete sets and I needed as much information as possible on the vessel, to make it historically accurate. We spent the day searching through boxes of beautiful plans most of which were over 100 years old trying to find an old vessel that was entirely or mostly wooden in construction.
ROBERT MILLER VEEER ARCHIVE
I met my client in London and we went to the archive store called the Brass Foundry in Woolwich. It was a perfect opportunity to make a different model of part of our history and the history of Lloyd's Register. I was put in touch with the Curator of Maritime History & Heritage at the Lloyd's Register Foundation (LRF) in London who was able to give me access to their archived ship plans. Over the summer I contacted a number of different clients to ascertain if any wanted a model made. The Gorfaine/Schwartz Agency in Los Angeles represents Miller in film and television.As part of my university degree I was required to find a client project to do as the very first project of my final year. Miller has written several works that have been performed by orchestras nationwide including a 2017 commission for the New York City Ballet.
Miller studied formally at the Mannes College of Music in New York City and privately with American masters William Schuman and Aaron Copland. Miller has since developed a network of friends that include luminary musicians like bassist Will Lee, guitarist David Spinnozza, and singer/songwriter Marshall Crenshaw. Miller began performing as the drummer and keyboardist for the punk/power pop band, The Metromen, in the style of Joe Jackson, The Police, and Elvis Costello. Sought-after for Super Bowl and other advertising, Miller has won several Clio and Addy awards for his national and international television commercial scores. Miller's score for Teeth was nominated for a 2009 Fangoria Chainsaw Award. His other Emmy nominated films are The Lost Son of Havana (2010) and Rising: Rebuilding Ground Zero (2011).
ROBERT MILLER VEEER MOVIE
Miller's projects have received the 2005 Sundance Grand Jury Prize (Why We Fight), 2005 Tribeca Film Festival: Best Narrative Feature Award (Red Doors), 2014 African Movie Academy Awards: Best Film Nomination (The Forgotten Kingdom), and a 2016 Emmy (Of Miracles and Men).
ROBERT MILLER VEEER TV
Miller's scores for films, documentaries, TV and advertising reflect his diverse musical background and comfort in a broad range of musical styles. Robert Miller is an American film and televison score composer who is a frequent collaborator with directors Jonathan Hock and Eugene Jarecki, and legendary picture editor Walter Murch.
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