When Trevor Rabin showed up at Steven Seagal's house in the mid-'90s to give the action star a guitar lesson, he had no idea that the encounter would lead to a whole new career path. But after the former Yes guitarist (he had left the band following the wrap of their Talk tour) finished teaching Seagal how to play Red House, the actor asked Rabin if there was anything he could do for him in return."As it so happened, I told Steven that I was looking to get into film scoring, and I asked him if he knew any agents I could talk to," Rabin says. "Then Steven said, ‘Well, I’ve just finished a movie. Do you want to do it?’ It was all so straightforward. I was familiar with McIntosh, having done the first non-linear album with Talk, and I knew how to orchestrate, so I figured I’d have a go at it. I just jumped in the deep end and went at it."
The music end of film scoring proved to be a cinch for Rabin – in addition to writing and recording with Yes, he had produced bands and worked as a session guitarist both in London and his native South Africa – but there were some elements of film production he had to bone up on fast. "Seagal's film Glimmer Man had all of these Russian agents in it," Rabin recalls. "There was this one character named ‘POV’ – I kept seeing his name in the script, but he never spoke. There would only be a description of where you were. I later found out that POV is a camera direction for Point Of View. I was too embarrassed to ask at first. That's what happens when you kind of bullshit my way in.”
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