How Organist Aaron David Miller Enlivens Buster Keaton’s The Cameraman

Aaron David Miller is renowned for his imaginative and exceptional improvisations on the organ, composing event-specific musical scores in front of live audiences. His accolades include the top prize at the 1996 American Guild of Organists National Competition and the 1998 Improvisation and Bach Prizes at the Calgary International Organ Festival. A highly decorated and seasoned musician, Miller is familiar to fans of the historic Northrop pipe organ from his turning the instrument into “an audible color wheel” (Los Angeles Times) that musically colorized the black-and-white film The Phantom of the Opera in 2022 and the cinematic shadow-puppet experience of Manual Cinema: Ada/Ava in 2024.

Another artist at the top of his field, Buster Keaton is widely regarded as one of the greatest comedians and filmmakers of all time. Keaton’s filmography includes 19 silent short films, 10 silent feature films, and multiple other works after the silent film era (1894–1931). Known as “The Great Stone Face” for his deadpan expression—a comedic tactic that he learned while performing as a young child in Vaudeville shows with his parents—Keaton’s innovative stunts and intricate gags set new standards for visual comedy and storytelling. In 1959, he received an Academy Honorary Award for “having raised laughter to the status of high poetry,” recognizing his pioneering work and lasting impact on cinematic artistry.

The Cameraman (1928) was one of the last silent films made before the shift to “talkies.” Considered one of Keaton’s best works, it features his well-known and well-loved physical comedy, with hilarious chase scenes, endearing mishaps, and explosive mayhem. Speaking of explosive mayhem, The Cameraman footage almost disappeared forever, as the original burned in a vault fire at MGM in 1965. A print of the film was found in 1968, and a better quality master was located in 1991. The salvaged film is now safely inducted into the Library of Congress’ National Film Registry, alongside six other Keaton films—a distinct honor indicating its enduring cultural significance in American history.

In the early 20th century, watching silent films in theaters was rarely a silent experience in practice. Thomas Edison, whose lab invented the movie camera in 1888, believed sound and image were inextricably linked. Shortly after his invention of motion pictures, French cinema pioneers Auguste and Louis Lumière successfully screened their short films with live music for the first known time in Dec 1895. Live music accompaniment thereafter became common at silent film screenings for many reasons. A solo organist or pianist typically would improvise a score to accompany the film, enhancing the film’s storytelling and emotional depth. However, this art form nearly vanished with the invention of sound films in the 1930s. Aaron David Miller, renowned for his “courageous improvisations with flair” (Pipedreams, MPR), revives this tradition with his play-it-by-ear (and eye) performances. Explore Miller’s journal of improvised scores.

When you think about the organ, “exciting musical innovation” may not be the first phrase that comes to mind, as the instrument is often associated with old, dusty church lofts. However, the organ is one of the most intricate, versatile, and dynamic instruments available, continually progressing over centuries to incorporate technological advancements. The inner workings of the pipe organ, with mechanical additions (bellows, stops, pedals, among others) that vary from organ to organ, create a polymorphic playground with a unique accent—requiring organists to multitask efficiently. An Aeolian-Skinner Opus 892, Northrop’s organ is nearly 100 years old and has nearly 7,000 pipes, which range from 32-feet tall to the size of a pencil. Organist Anna Lapwood, who performed at Northrop in 2024, remarks, “[Organists] keep quite busy, and it gets really fun when your hands are going full pelt, your feet are going full pelt, and your brain feels like it’s just dancing over the top” (Classic FM).