He simultaneously prepared a thesis on music for film, basing his analysis on a number of successful director-composer relationships, notably Eisenstein/Prokofiev, Hitchock/Herrmann, Godard/Duhamel, as well as others.

He began composing music for films in Los Angeles under the guidance of the renowned film composer William Goldstein (Fame, Wes Craven’s Shocker). He ultimately met his favourite composer Christopher Young (The Core, Shipping News, Species, Hellraiser) who, recognising Vincent’s musical talent, soon became his mentor.