Michael Fleming. Composer

The Hollywood Reporter

Michael Fleming’s score accentuates the mood without resorting to heavy-handedness. 

The Hollywood Reporter Review of 'Nuala'- February 2013

Variety Magazine

Production values, from the glowingly lit, intimately framed interviews (lensed by Kate McCullough) to the sound to Michael Fleming’s music, are tops.

Variety Magazine Review of 'Nuala' - October 2012

Patrick Farrelly & Kate O’Callaghan

We worked with Michael on two very different feature documentary projects: one about the Northern Ireland Troubles and the other which featured a personal journey by Marian Finucane into the life of her friend, Nuala O’Faolain. The extraordinary work that Michael did on both of these complex films was a vital part of their success. In what is often a demanding and stressful process Michael is a cool, intelligent presence. He also enjoys the give and take of the creative process, is very intuitive and not at all precious about his enormous talent.

Patrick Farrelly & Kate O’Callaghan. Director/Producer. Nuala, Voices from the Grave. Jaha's Promise


vStream have worked on three projects with Michael Fleming to date and now consider him to be our ‘go-to’ composer for all projects and speculative opportunities. Michael's attitude to the working relationship, his aptitude for the work, and ability to manage different parties and collaborators from musicians to studios, ensures his contribution to a project integrates seamlessly.

On a personal level as the writer/director on both projects, I have found Michael's ability to work within multiple genres and interpret the overall vision has meant that the films have been truly brought to life. In both 'The Red Shoes' and   ‘Elbow Saves Christmas’ there was no dialogue, and the music acted very much as another character. In The John Jameson Story, the brief was very challenging in creating a series of new compositions in the style of a Jacques Lousier Bach arrangement. Michael stepped up and surpassed our requirements. Michael is an incredibly hard worker and is a genial person who has a very positive and ‘can-do’ attitude to all projects. Both myself, and vStream, look forward to continued collaborations in the future

Niall O'Driscoll. Director. vStream

Michelle Deignan

Working with Michael was a brilliant experience. His enthusiasm for music is infectious and his intuition and understanding of what I was after surpassed my expectations. I felt like we were speaking the same language. Thanks again Michael and it would be great to work with you again in the future.

Michelle Deignan. Artist. Journey to an Absolute Vantage Point

Tadhg O’Sullivan

Having worked with Michael on a broad range of film projects, I have been most impressed not only with the highest standards of the work he delivers, but his ability to deliver such work over a very wide variety of styles and genres, often within one film. Where choosing to work with some composers requires a prior commitment to a particular type of music, Michael encourages a wide-open discussion of style and approach, bringing an open-mindedness that is essential in bringing something fresh to documentary film. That he can retain this open- mindedness throughout a project and marry it to enthusiastic adaptability makes him a perfect collaborator.

Tadhg O Sullivan. Director. Ramallah TV: Editor. About Beauty, Teamhair/Tara.

Claire Dix

Michael Fleming is a pleasure to work with. His scores bring exactly the right personality, atmosphere, and tone to my films. Describing music, or what I require from the score, can often be achallenge for me. Michael makes this process easier with his fresh understanding and understanding of the stories. His scores breathe life into my films and he is the first composer I will approach for my next one.

Claire Dix. Director. Downpour, Birds & Beasts, Alia.

Nick Bryson

Michael took my feeble descriptions of what I wanted as a choreographer and spinned them into more than I imagined - from raindrops to overlapping harpsichord scales, from the overly romantic stumbling of words to the self-aware symphonic homage to Sigur Ros.

Nick Bryson. Choreographer. Touching Distance.

Conor Horgan

Michael Fleming has composed original music for four of my film projects, and I have found him to be a very talented and sensitive musician. All through the process he was a great person to collaborate with, and his creativity and professionalism were remarkable. I would recommend him as a film composer for any kind of project.

Conor Horgan. Director. The Queen of Ireland, Deep End Dance, About Beauty, Fear.

Blackrock Pictures

We engaged Michael Fleming to write the music score for a five-part television history series, ‘Bású/Execution.’ It dealt with the lives of five very different individuals executed during the Irish Civil War in 1922.

His music set the tone of the production in the opening animation theme music repeated in each of the programmes. From there on it carried us through a variety of emotional sequences - conveying the innocence of childhood, the grandeur of Empire in archive material, the solitude of one-man sailing, the cut-an-thrust of parliamentary debates. We re-enacted action-packed shoot-outs, high-tension gun-running, hill-walking, exchange of love-letters, wedding music, assassination. Above all his music orchestrated sensitive transitions from the high-energy camaraderie of revolution through the bitter taste of betrayal, the poignancy of brother against brother to the stark finality required of execution scenes.

Often working to tight deadlines, Michael managed all these transitions with remarkable good humour and deceptive nonchalance. He carries a wonderful talent easily.

Jerry O Callaghan. Director. Bású/Execution.

The Irish Times

This is what a fringe festival is about: experimentation and taking risks that repay. Miranda Driscoll and Michael Fleming’s compelling production blurs the boundaries between art installation and performance. The Enemies isan abstract interpretation of The Secret Miracle, a Borges story, where a condemned man is given respite to complete his cello masterpiece. A man lies folded and still on a bed, and above him, a series of haunting images flashes like the process of memory recalling a life and an uncompleted journey. The audience then journey on with the memory of him in their heads, passing through a series of empty and darkened interconnecting rooms, where hypnotic projected images and cello music finally fuse beautifully. Whether it’s art installation or theatre, the cumulative effect is both visceral and moving.

The Enemies ****

The Irish Times Review – September ’09

Black North

In 2011 we asked Michael Fleming to score our first short, 'Here To Fall'. The film had no dialogue so the score needed to underpin the visuals without overawing them. This is something Michael achieved effortlessly and in no small part contributed to 'Here To Fall' being nominated for a BAFTA in 2013. In fact, part of the score was subsequently chosen by BAFTA  for their Film Shorts selection trailer. 

Michael is a rare talent who is capable of sketching out comprehensive drafts after the briefest of discussions and then  remains true and committed to a project's creative vision until its conclusion. We will continue to work with him on our key projects into the future.

Evelyn McGrath & Kris Kelly

Ross Whitaker

Michael's strength as a collaborator is that he really listens and understands where his director is coming from and hopes to get to. Even his first drafts were incredibly close to what we were looking for, making the process a very positive experience. I wouldn't hesitate at all to recommend Michael to anyone who wants to work with a very focused, flexible and talented composer.

Ross Whitaker. Director. Unbreakable: The Mark Pollock Story