Scoring Pitch

Hey there! Thanks for taking the time to check this out. I’m Nick Thacker, and I’m a bestselling thriller author and composer from Colorado (by way of Hawaii and Texas). I’ve been composing since high school, when I was nominated for an award for my full-length Symphony in Bb: Visions, which was premiered by the University of Texas at San Antonio Symphonic Orchestra.

I consider Jonathan and Jynafer friends, so working with you all would be an absolute dream. Plus, the story as I have seen it so far is not only a great fit for my skillset, it’s exactly the style of film I know and love. Please find a brief CV and examples of my work below, and do not hesitate to reach out with any questions! I look forward to hearing from you!

The Score


A Call to Harms shows a great example of moving, emotional string melodies that could be possible in Infinity System. I compose in a “leitmotif” style, meaning each character/theme/device will have its own theme.

Slowly building orchestral backgrounds bring out the driving action and underlying tension in the story, and leaving plenty of room for dialogue (clean center channel ;-).


I included this piece as I feel Thebes portrays how I handle lengthy, intense sections of film: ostinato and percussion to drive action, with a clear sense of melody throughout.

The overall match to how I envision Infinity System is clear as well: familiar yet otherworldly, with a touch of grit. Driving electric guitar carries the melody, signifying a change in tone.


There is no instrument as familiar and recognizable as the human voice, and it is a staple in modern sci-fi scores, even if heavily altered and effected. I believe Infinity System should have a “voice” — a melodic “callsign” of sorts. In addition, Transcendents features a melody (violin: 1’10”) not unlike one I would compose for Infinity System.


While not necessarily a good fit for the style of Infinity System, these examples show my scoring experience and detail toward and understanding of story.

I scored this beautiful animated short for the 2021 SCORE RELIEF support fund, hosted by The Cue Tube. I challenged myself to compose something that included more woodwinds (in my opinion the most difficult orchestral section to write for), while maintaining a fair bit of mystery and intrigue and not coming across as “goofy” or “cartoonish.” 

The result is a great example of blending expected fantasy tropes with interesting textures and themes, all while supporting an already present storyline. 


I love the Westworld series, and always wanted to write something for it. When given the opportunity to pitch a scored scene, I jumped at the chance. 

This piece shows what blending synthesized music and sound design with modern orchestra can do, and gives the final experience an impact not possible with traditional instrumentation. 


One of my favorite compositional exercises is writing for traditional choir (SSATB). For this piece, I exclusively used the Spitfire LABS Choir library.

All sounds, including rhythmic elements, melodies, and harmonies, are from this single library. 

Thank you!

As a composition student (BFA in Music Composition – Film Scoring), it was always my dream to score music for film. After working with student film teams, professional advertisers, and independent studios, that dream has never wavered.

I humbly thank you for your time and consideration, and I look forward to hearing from you soon! | 719.460.7410