Skip von Kuske

Skip von Kuske, man, this dude’s name keeps popping up in some pretty interesting indie flicks. You might’ve caught him in The Hours Till Daylight from 2015—it’s that kind of slow-burn thriller that sneaks up on you. Basically, it’s about this guy struggling with his family’s past, haunted (literally and emotionally) by creepy stuff that won’t leave him alone. It’s not your typical jump-scare fest; it’s more about the dread seeping in, you know? Skip brings this intensity to the table that really sticks. Then there’s The Auteur, which dropped back in 2008. This one’s a total shift in gears—think mockumentary-style, poking fun at the whole adult film industry. It’s weird, it’s meta, it’s got that offbeat Portland humor scattered throughout. Skip’s role isn’t front-and-center, but his musical chops set the tone—sort of this quirky backdrop that matches the film’s whole satirical vibe. Jump to 2020 and you’ve got French Exit. It’s this dark comedy with Michelle Pfeiffer doing her thing, playing a socialite who’s fallen from grace. The story follows her and her son moving to Paris, and let’s just say: chaos and dry wit ensue. Skip’s music floats in the background, boosting those moody, sometimes absurd moments. The guy’s got range—seriously, from horror to satire to bittersweet comedy, he’s woven into films that don’t fit the cookie-cutter mold. You almost never know what to expect, and honestly, that’s half the fun.