From practically the day he was born, George Dean has made a habit of defying expectations. Who would guess that a UCLA grad who majored in Computer Science would pursue a career in film scoring? Or that a composer/software engineer with a well-documented distaste for literature classes would decide to also write screenplays?

Given Dean's long-time friendship with director Doug Conant - some sources indicate that they've known each other since shortly after the dawn of time - and the fact that film scores were his favorite musical genre even before that fateful meeting, his foray into composing for film seems almost inevitable. His introduction to the medium began with the themes from his favorite 80's blockbusters, penned by such greats as John Williams, Alan Silvestri, Jerry Goldsmith and James Horner. His sources of inspiration have been expanding ever since, including current industry leaders like James Newton Howard and Thomas Newman, as well as classical orchestral composers like Debussy, Dvorák, Beethoven, Tchaikovsky, Holst, and Shostakovitch. Now, the latest music technology enables him to produce surprisingly organic and authentic orchestrated scores on a shoestring budget - or make printed instrumental parts and conductor's scores worthy of a professional studio orchestra.

Considering his enduring passion for popular film and dramatic television, and his aforementioned friendship with fellow writer Doug Conant, Dean's venture into the realm of screenwriting is no great mystery either. His philosophy in screenwriting, as in film scoring, is simple: Story is King. Paying careful attention to story structure, pacing, character motivations, and the internal logic of the film's fictional world, his mission is to eliminate any obstacle, in music or script, that would distract the audience from the story - so that the final result is a relentlessly involving and engaging experience.