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==Career==
Clouser was originally hired by [[Trent Reznor]] in the early nineties as a studio programmer. In an interview with ''LoudwireComingSoon''[https://loudwirewww.comcomingsoon.net/horror/pb_article_type/charlie747395-clouserexclusive-nineinterview-inchcomposer-nailscharlie-pastclouser-filmsaw-tvnin-scoringwayward-present/pines], he explains further:
<blockquote>I think what first sucked me into '''How did you meet up with TrentReznor and Nine Inch Nails?'s world '' It wasworking for that composer that brought me from New York to Los Angeles, at where I reunited with a bunch of college friends from back east, one of whom was one of many producers on a Nine Inch Nails music video. [Nine Inch Nails] needed some sound effects for the time"[[Happiness In Slavery (song)|Happiness In Slavery]]" music video, which had this performance artist Bob Flanagan being eaten alive by this would have been about '92 when I started working with him mechanical torture chair. They needed the sound effects that the mechanical chair was going to make: sort of motor and at meat grinder-type sounds. They had all the timegear they needed, they just needed someone to bring in new sounds and a different approach. I was doing showed up with a disk drive that had a lot bunch of samples of drum and synth programming for hard rock/industrial acts stuff like Prong and White Zombie dentist drills, jackhammers, and things shit like that. OriginallySo we manipulated a bunch of sounds and did this thing as basically an overdub for the music video. We finished it in just a couple of hours and had all this extra time, so Trent and I spent the rest of the first time playing video games and screwing around in the studio and, then, before I left he said, "well I have this other thing that I am doing that I did for Trent was programming drum reinforcements wondering if you could help me out on [[Marilyn Manson (band)|Marilyn Manson]]'s first record. " He was busy with three or four things at once, preparing for a tour, finishing in the final stages of the ''[[The Downward Spiral (albumhalo)|The Downward Spiral]]'' album. And, while at the same time producing the [[Marilyn Manson (band)|Marilyn Manson had recorded their basic tracks for their first album ]] record and Trent thought didn't have the time to fix the drums on the Manson record. So he had me do drum needed to be beefed replacement and fatten upthe acoustic samples. So once I got there, I kind of never left. '''How long did you stay on as a behind-the-scenes member of the group?''' Before Iwas playing on stage with the band, being I went on the road with them for quite awhile setting up and operating a portable studio. We had a sampler jockey bunch of computers and synths that we'd haul around in the buses and sequencer wizwould set it up in hotel rooms whenever there were a few days off so Trent could do some writing. I did that for a while. Eventually, the original keyboard player [[James Woolley]] was brought in fixing to justleave so it was like, not to create anything newhey dude, but just to stack you're up. I kind of took over in the middle of the tour. My first gig ever playing keyboards live and add fatness behind in front of people was for like 20-some thousand people at the basic tracks Palace of Auburn Hills outside of Detroit. '''What was that era like for Mansonperforming? It is kind of the border between a major analog-to-digital crossover.'''s first album It was really a great time to be involved with someone like Trent, who was at the cutting edge of sonic experimentation. AndAs we went on, we started to get more digital and software-based tools, he allocated "X" amount but were right there on the bleeding edge of days or weeks or whatever it was for me , using funky old PC computers with shareware programs to do that granulate and manipulate samples. That formed a big part of the sound of the ''The Downward Spiral'' and ''The Fragile'' albums. It's a different context but I finished it can still apply a lot quicker than he thought and then he started saying, "Hmm, this guy is a wiz those same attitudes towards experimentation with some of this program stuff. Maybe we should bring him into sound in the loopscores that I do."</blockquote>
Clouser was a member of NIN from 1994-2000 and was part of the live band on the [[Self Destruct Touring Cycle|Self Destruct]] and [[Fragility]] tours, as well as collaborating with Reznor in the studio on various projects. One such collaboration being the ''[[Natural Born Killers Soundtrack|Natural Born Killers]]'' soundtrack on which he aided in recording and producing a new version of "[[Something I Can Never Have]]." His work can also be heard on releases such as ''[[Further Down the Spiral]]'' and ''[[Things Falling Apart]].''
He has shared songwriting credits for the NIN songs "[[The Way Out Is Through]]" and "[[Starfuckers, Inc. (song)|Starfuckers, Inc.]]" He appears in the [[Nine Inch Nails music videos|music videos]] for "[[Hurt (song)|Hurt]]" (live), "[[Eraser]]" (live), "[[Wish (song)|Wish]]" (live), "[[The Perfect Drug (song)|The Perfect Drug]]" and "[[Into The Void (song)|Into The Void]]". He has also done remixes for various bands, including: White Zombie, [[Marilyn Manson (band)|Marilyn Manson]], Rammstein, [[Prong]], Killing Joke, [[Related bands and artists#Type O Negative|Type O Negative]], Zilch, Schwein, Collide, [[12 Rounds]], Foetus, [[Related bands and artists#Meat Beat Manifesto|Meat Beat Manifesto]] and Esthero.
Since leaving the NIN camp in 2001, he has worked as a composer, scoring the films ''Saw'' (2004), ''Saw II'' (2005), ''Saw III'' (2006), ''Saw IV'' (2007), ''Saw V'' (2008), ''Saw VI'' (2009), ''Saw VII'' (2010), ''Resident Evil: Extinction'' (2007), ''Death Sentence'' (2007), ''Dead Silence'' (2007), ''Deepwater'' (2005) and ''End Of Days'' (1999), as well as the TV series ''Las Vegas'' (2003 - 2007) and , ''Fastlane'' (2005). He is currently the composer for the series and ''NUMB3RS''. He also appeared in the film ''Moog'' (2004).
==Body Of Work with NIN==