Rose created LMG because she was also very tired of spending years of hiding in the background as a "quiet composer." So she decided enough was enough and finally gave in to her undeniable need to professionally compose for film: "As a woman," she explains, "my experience was often that I'd walk into a pro-studio, and assumptions were made: 'Oh, here's the singer who knows nothing about production!'  Well, I also grew up [around,] and was mentored by, producers and sound engineers!"I'm proud to see that women are finally holding their ground as producers, audio engineers, composers [as] technically-proficient as their male counterparts. Thankfully [the old bias] is changing—albeit slowly—and I believe merit and voice should come first when choosing a composition team for a screen project. I also believe today's composer needs to support creative collaborations with fellow composers and creative teams."

Rose adds, "My primary vision is that one day, we won't even have to have the conversation on gender, background or isolation—that our industry will allow everyone equal opportunity to professionally express [ourselves together]." According to her, storytelling is "one of the most powerful tools we have [to] support, share and build our humanity.”

Rose belongs to The Alliance for Women Film Composers, and continually advocates for professional female composers. Her vision, with LMG, is to gain enough business to hire more diverse composition teams. For more insight on the conversation on female composers, consider this short BBC interview.

Leonty: LMG [aims] to help boost and foster creative collaboration across creative teams. In the composition process, this means we work with the writers and directors early on in the process (rather than waiting until a final cut [arrives while] hiding in our studios). We believe in constructive collaboration as early [as] possible.

Our work with the Spear sisters is a prime example of this. They sent us the script, and we had our initial "spotting session" well before any of the visuals were filmed. Once that was completed, we created a log per scene, and had to divide sound design elements from scoring elements (with our hybrid approach, there [can] be overlap). We then moved into auditioning species of sounds, and again, meeting with the directors as we developed our vision for this script.

Nick: How do Rose and Gerry operate individually as part of the group?

Leonty: [Over the years] we've built a collaborative, compositional process [where] each person has their own voice and brings their strengths to a project. Rose has a passion for synthetic textures, and Gerry has a passion for orchestration. So, although we would have been able to individually score a short [movie like "Alien: Ore,"] we chose to divide the work into scenes. We began an iterative process of scene composition—meeting [with each other] frequently while listening, challenging and upgrading our work drafts; then meeting with the directors as we began to make progress.

Rose likes to treat her sounds like characters, in that she "auditions" a library of sounds, and begins to rank them. In her "design time," she [also] really enjoyed designing sounds in the different species groups (metals, airs, winds, rock) for "Ore." The feeling of underground, mining, darkness, and quality of air (as well as the emotional voices of the main characters) really influenced the "library" she could play with. For her, the sounds are "colors" [she can] paint with.

Nick: How did this affect your collaboration on "Alien: Ore"?

Rose: In the case of "Alien:Ore," we both loved the story that the Spears sent us. And with [its] vast history and public awareness, we knew the story would be best served by us collaborating on this one.We both chose to equally share in the creative and production effort. This involved staying really open to the process of creation (and thankfully our twenty years of working together allows us an authenticity and respect for the process). Basically, we can challenge [each other's] work and not worry about hurting the other person’s feelings. This is a very important thing for us— remove our egos and listen for [an] emotional quotient; we consider [it] our responsibility as co-storytellers.