In the dynamic world of film scoring, where music breathes life into narrative and emotion, Los Angeles-based musician and composer Nissan Zangilevitch has emerged as a notable voice. With a unique blend of cultural heritage and a keen understanding of cinematic storytelling, Zangilevitch has quickly made his mark on widely successful projects spanning neo-noir thrillers, animated comedies, international branding campaigns, and critically acclaimed stage adaptations. His recent contributions to Amazon Prime Video’s hit film “Killer Heat” and upcoming work on major studio features underscore a trajectory poised for significant impact.
A graduate of Berklee College of Music, where he earned a Bachelor of Music in Film Scoring magna cum laude, Zangilevitch’s foundation is as robust as his esteemed career. His early experiences include pivotal roles for Joseph Shirley and at the esteemed Remote Control Productions. Notably, he also served as a Tech Engineer on the renowned Ramin Djawadi’s team for the “Game of Thrones Live Concert Experience” at the Hollywood Bowl, a world-renowned production that allowed him to contribute directly to its iconic soundscape. Beyond his collaborative roles, Zangilevitch is also a skilled creator of Kontakt instruments, providing bespoke tools for a variety of composers, and is fluent in English, Spanish, and Hebrew—a linguistic dexterity that mirrors his musical versatility.
Zangilevitch’s recent success highlights his diverse capabilities. He played a crucial role in the music production for “Killer Heat,” the 2024 American neo-noir mystery film directed by Philippe Lacôte and starring Joseph Gordon-Levitt, Shailene Woodley, and Richard Madden. Released on Amazon Prime Video on September 26, 2024, the film quickly ascended to become the #1 movie on the platform globally and #2 in the US.
Working alongside composer Joseph Shirley, Zangilevitch’s contributions were multifaceted, ranging from “building interesting sounds from recordings of traditional Greek instruments” – a nod to the film’s Crete setting – to meticulous music preparation, enriching the film’s evocative atmosphere. Shirley is an acclaimed composer in his own right, and has written music for productions on the History Channel, MSG Network NY, SyFy, XM Sirius Radio, among others.
Zangilevitch’s talent has also been sought for commercial projects with major clients like Deloitte and Google. Working with Fide Creative, his musical instincts were key to crafting emotionally resonant commercials for global audiences. These collaborations allowed him to apply his unique musical talents and approach to storytelling across corporate and digital landscapes.
Looking ahead, Zangilevitch’s plate remains full with high-profile projects. He is currently immersed in the music production for “Is God Is,” a film adaptation of Alesha Harris’s award-winning off-Broadway play. Produced by Amazon MGM Orion Pictures, the film boasts a star-studded cast including Kara Young, Mallori Johnson, Sterling K. Brown, Vivica A. Fox, and Janelle Monáe. Once again collaborating with Joseph Shirley, Zangilevitch is instrumental in shaping the musical identity of this eagerly anticipated feature, which began production in 2024.
Adding another dimension to his portfolio, Zangilevitch is also working on “Gabby’s Dollhouse: The Movie,” a musical fantasy comedy set to hit US theaters on September 26, 2025. Based on the popular Netflix series, this DreamWorks Animation and Universal Pictures production combines live-action and animation, featuring returning cast members and new voices like Ego Nwodim, Kyle Mooney, Melissa Villaseñor, Thomas Lennon, Jason Mantzoukas, Fortune Feimster, Maria Bamford, Mimi Webb, Gloria Estefan, and Kristen Wiig. Zangilevitch’s involvement here focuses on song production alongside Joseph Shirley, showcasing his versatility across genres, from intense drama to lighthearted family entertainment.
A World of Sound: Cultural Roots and Creative Flow
Zangilevitch’s unique background profoundly influences his musical fingerprint. When asked how his Israeli and Mexican roots inspire his music, he shared, “Growing up with roots in both Israel and Mexico has shaped my musical world, and these cultural elements have blended into my music,” he said. “For example, I might use an unexpected melodic turn that subtly echoes an Israeli folk song, or a rhythmic pulse that’s distinctly Latin, even when I’m working with a traditional orchestral sound. My diverse background also makes me naturally gravitate towards unique and unexpected instrument combinations, as well as using surprising harmonies and rhythms when I’m writing my music. I know for a fact that my background affects my music and I’m very grateful to be able to tastefully sprinkle a little bit of who I am onto any project I work on.”
His creative wellspring extends beyond cultural heritage. Zangilevitch notes that his musical writing style is heavily influenced by “the music that I listen to.”
“There are a lot of instances where I might start working on a project, and I really dive into listening to the style of music that I’ll be working on in that project,” he said..” On top of that, I think my personal music tastes, like jazz fusion that I’m really into, definitely finds its way to sneak into my music writing when it’s appropriate for the project.”
Crafting Emotion: Mastering Onscreen Spaces
A true artisan of atmosphere, Zangilevitch views on screen spaces as “emotional playgrounds.” He explains how he fills them with music to evoke specific feelings: “For suspense, I might throw in sparse sounds, long, spooky drones, and those slightly off-key notes that make even empty rooms feel super heavy with something unseen. It’s like the silence itself becomes part of the tension.” For moments of peace, he employs “open, warm sounds with slow tempos. The music just kind of expands the picture, inviting you to relax.” And for romance, “I would go for lush melodies and soaring swells. The music just makes the whole space around them hum with passion and connection. Essentially, the music’s the invisible hand making you feel what that space means in the story.”
This mastery extends to the subtle yet impactful use of effects, particularly reverb. “I use reverb to some degree on every piece of music I work on,” Zangilevitch states. “It’s useful to set the spatial tone of a scene. Like, a big, roomy reverb can make you feel like you’re in this huge, empty architectural space or really isolated. But if I use a tight, dry reverb, it can make things feel super close and intense, or even claustrophobic. It’s also awesome for adding emotional layers, like making thoughts echo in a character’s head, or just making a scene feel kind of dreamy. And for suspense—reverb can totally hint at hidden elements or make familiar places feel a bit creepy. Basically, it’s my secret weapon for making you feel the space on screen.”
Lessons from Mentors and Unique Collaborations
A significant part of Zangilevitch’s learning and growth has come from his ongoing collaboration with Joseph Shirley. “I would definitely say Joe’s reputation as a composer and producer has been on the up and up for a while, consistently getting bigger and better projects because of his incredible versatility and his knack for truly understanding a project’s needs,” Zangilevitch said.
“Having worked with him for the past two years, I’ve learned an incredible amount. He’s been an amazing mentor, guiding me in this industry and setting a really high standard for every project we work on together. From practical tips on how to approach writing music for particular scenes—like finding the perfect tone or knowing when to hold back—to the intricacies of collaborating with big studios and teams on massive productions, he’s taught me valuable skills. Beyond the music itself, he’s also shown me the importance of maintaining a healthy work-life balance, which is crucial in such a demanding field. I always enjoy working with him and look forward to many more collaborations together.”
Zangilevitch’s collaborative spirit shone brightly in his work on the short film “Frank and 3,” directed by Charlie Ullrich. The film follows Frank (Steven Ogg) as he grapples with loss, finding an unexpected companion in a paper towel dispenser he names “3.” Their journey of acceptance and connection, culminating in a poignant forest conversation, explores the contrast between loneliness and companionship.
Reflecting on the experience, Zangilevitch said that: “Working with film director Charlie Ullrich on Frank and 3 was an incredibly insightful and collaborative experience. From our first chats about the music, it was clear we had to create something truly special and unique to serve his vision. The emotional goals we discussed for the score centered around conveying the core contrast between loneliness and companionship, while also acting as a voice for ‘3’ since the character communicated nonverbally.”
He continued: “I learned so much about how music can subtly shift perception. We focused on initially highlighting Frank’s emotional turmoil and isolation, then gently building a sense of unexpected connection and warmth as he meets ‘3.’ For their intimate forest conversation, Charlie wanted the music to evoke a profound sense of wholeness and acceptance, guiding the audience through their journey. This process really cemented what I knew about the immense power of a score to act as the film’s emotional compass, articulating the unspoken and inviting viewers into a unique journey of finding connection amidst loss.”
In terms of sonic elements, Zangilevitch and Ullrich crafted a distinctive palette for “Frank and 3.” “I think we used a variety of synths that tried to emulate a sort of musical character that could speak for ‘3’ the paper dispenser, as he is a non-verbal character,” Zangilevitch explains, demonstrating his innovative approach to giving an inanimate object a voice through sound.
