B est-selling composer Thomas Bergersen was born and raised in Trondheim, Norway. By the age of 6 it was obvious that Thomas had little interest in playing existing music, but would rather come up with something himself, much to the dismay of his piano teacher. Fast forward some decades and Thomas’ compositions have been featured in some of the biggest motion picture campaigns in the world, such as Avatar, Pirates of the Caribbean, Twilight, Narnia, Harry Potter, Da Vinci Code, The Mummy, The Dark Knight and 100s more. He co-owns a company called “Two Steps From Hell” with his partner, Nick Phoenix which produces music for motion picture advertisement campaigns. Thomas’ extensive and highly specialized knowledge of digital orchestration and sample libraries, combined with his musicality puts him at the top of the world in his craft. In 2011, Thomas released his first public album titled “Illusions”, which has been a huge hit, reaching number one in the iTunes world music charts both internationally and in the United States.  I’m a kid! I don’t like being told what to do, and music is the only place I know where I can roam free and do what I want. It is my fortress of solitude and only I have the key. His music with Two Steps From Hell has also been a huge hit, reaching both first and second place in the iTunes classical sections with the albums “Invincible” and “Archangel”. Thomas has worked with some of the best musicians in the industry and continues to break new ground with his innovative composition style. His next album, the follow up to “Illusions” is expected to be done some time in 2013. “The reason it takes so long to produce an album like this is because out of 10 pieces I write, only one or two will make the cut, and then the process to embellish it with live orchestra, singers and instrumentalists begins, which can last for months. It’s all about finding the right voice for the right music, the right instrument for the right melody, the right length, sound color, orchestration, lyrics etc. It takes a long time, and the process is very different from writing film music where you typically just follow something on-screen, or in a band where you have your guitars, bass, drums, vocals and maybe a synth. The complexity of the soundscape means more things can go wrong, clash, or otherwise make the process difficult. You are sometimes dealing with polar opposites, but just because we’ve been told that certain things don’t go well together I don’t see that as a reason to avoid it, but a challenge rather. The satisfaction for me ultimately lies in untangling the mess and making all the individual chaotic parts come together in harmony somehow. That’s when I feel like I’ve done a good job.”