“Frank vs. God is tonally complicated: on the one hand a smart and snappy courtroom comedy, and on the other a poignant drama about our relationship to faith, loss, and the world around us,” described Beard.
In FRANK VS. GOD, David Frank (Henry Ian Cusick) thinks he’s lost everything. Unable to move past the grief of losing his wife, this former lawyer has all but given up. That is, until a tornado not only destroys his house, but takes from him the last real connection to the world, his beloved dog Brutus. When the insurance company deems the loss an “act of God,” David is desperate, and is convinced someone has to pay. He decides to serve God... with a lawsuit.
David’s provocative and clever legal antics turn the courtroom into a riveting spectacle as he cross-examines representatives of the world’s religions. But when he meets his match—charming and intelligent defense lawyer Rachel (Ever Carradine)—sparks fly and his assumptions are challenged. David’s act of desperation just might be his salvation. Frank vs. God is a comedy that raises questions about faith and religion with a light-hearted tone and an open mind. The film is an uplifting story of one man’s search for answers, by taking them to a higher court.
“Writer/Director Stewart Schill’s initial instructions were simple and poignant: think of the music as a quiet but present character in the film, never overwhelming, but a gentle presence that could help guide the through line of our characters’ journeys,” Beard explained. “There is a fair amount of motivic/thematic material, though the goal is certainly for the score to work well emotionally regardless of whether the listener consciously notices any of the themes!”
Jonathan Beard creates music for media and the concert stage. As a composer, his recent projects include serving on the composing teams for video games Star Wars: Battlefront and Star Wars Old Republic: Knights Of The Fallen Empire; and guest-composing for ABC's Once Upon A Time. For the stage, Jonathan co-composed the oratorio The Passion Of Anne Frank for the Los Angeles Master Chorale as part of their Voices Within residency, and his original theatre-score for Driving Miss Daisy received an NAACP Theatre Award nomination. He also recently completed the I-Park Foundation Artist Residency for his in-progress electroacoustic opera Cesare, Child Of Night.
One of the most sought-after orchestrators in Los Angeles, Jonathan values collaboration with other composers very deeply. He has worked closely with composers Junkie XL (Deadpool; Run All Night) and Bear McCreary (10 Cloverfield Lane; Marvel’s Agents of S.H.I.E.L.D.) for many years on numerous film, television, and video game projects, and more recently with composers including Abel Korzeniowski (Penny Dreadful), Heitor Pereira (Despicable Me 3) and Gordy Haab (Star Wars: Battlefront), among others.
Jonathan holds music composition degrees from Stanford and UCLA, and is committed to music education: in 2011 he joined the faculty of the UCLA Herb Alpert School of Music, and he is a longtime supporter of Education Through Music - Los Angeles, currently serving on their Associates Board.