The Film Scorer

The Mission Impossible franchise has been going strong for nearly thirty years, so it's a bit surreal to see it apparently come to an end, with Tom Cruise hanging up the mantle as Ethan Hunt. To celebrate the final entry, Mission: Impossible - The Final Reckoning, the film's composers Max Aruj and Alfie Godfrey join the show! Naturally, the three of us spend most of the interview talking about Mission: Impossible, including spending a year straight exclusively scoring the film, how score fits into the broader film making process in a project of this scale, the difficulty in scoring the two major set pieces, and how and when to utilize Lalo Schifrin's iconic main theme. The last point was a particularly interesting one to me, as I've seen quite a few people wondering about it as well given that they don't quote the full theme often at all. Trust me, it's all intentional and done for good reason! I also want to point out how prevalent the theme of teamwork is in this interview. Naturally, it's become a main thematic motif throughout the film series, with Cruise's Ethan Hunt willing to essentially do anything possible to save his team (and, in turn, save the world). Would Max or Alfie hold onto a biplane as it speeds thousands of feet in the air? Not sure. But they will spend a lot of timing raising up their colleagues and team members. Something I can definitely get behind. One note: Alfie's voice is the first you'll hear and Max provides the first longer answer. Mission: Impossible - The Final Reckoning is currently in theaters, and Max and Alfie's score (as well as much of their other work) is available on all major platforms.

Ahead of the premiere of the third and final season of Squid Game, I chat with the show's composer, Jung Jae-Il (Parasite, Mickey 17). Obviously Jae-Il and I spend much of the conversation talking about Squid Game, including the palette, the differences in score and approach between the seasons (due to different games and loads of character deaths), and the closure that season 3 brings. Along the way we cover things like 90s British death metal, the piano as his natural language, the social themes of the projects he scores, and plenty more. Season 3 of Squid Game premieres on Netflix on June 27, and Jae-Il's score is forthcoming. However, much of Jae-Il's other music, including scores and solo work, is available physically and on all major platforms. We also used a translator here (although Jae-Il's English is very good), whose voice you will hear throughout the interview.

Composers Leo Birenberg & Zach Robinson join The Film Scorer Podcast to round out the unofficial (and accidental) trilogy of duo interviews (joining Meg Remy & Grace Glowicki and Aaron May & David Ridley). Leo and Zach are fresh off of scoring the sixth and final season of Cobra Kai as well as the first season of Your Friendly Neighborhood Spider-Man, so it's no surprise that we spend much of our conversation talking about those two scores (and Cobra Kai as a whole). In doing so, we cover things like the importance of putting their own stamp on a score (including making individual Cobra Kai fights seem unique and making their Spider-Man distinct from the many other entries), the daunting nature of creating a Spider-Man score in the wake of Daniel Pemberton's masterpieces, and the bittersweet nature of finishing Cobra Kai. For reference, of the two, Leo is the first to speak. Leo & Zach's scores are available on all major platforms, as are their other various other scores. There's also a compilation album of "greatest hits" from Cobra Kai seasons 4, 5, and 6 coming out later this year via Mutant. Cobra Kai is currently on Netflix while Your Friendly Neighborhood Spider-Man is on Disney+. You can find out more about Leo & Zach on their respective websites (Leo; Zach).

For my second of three consecutive duo interviews, I chat with composers Aaron May and David Ridley. While they've been composing together for a while, their biggest project is also their most recent - the viral Netflix series Adolescence, from director Philip Barantini and starring Stephen Graham. It's not surprise, then, that we spend a lot of our chat talking about the series, including working in the single take, real time format, understanding that the series might not need score at all, and the genesis of the child vocalization that forms an integral part of their score's palette. Dave has also scored all of Phil's projects, with Aaron also scoring all but the first two, so we discuss this long term director combination as well as how the two work together (and work separately). This is one of the more tangential conversations I've had - Aaron and Dave warned me beforehand that it might happen, but I certainly instigated it! I should have known it was coming when we lost track of time before recording talking about East Anglia and the British ritual/folk year. Shame that wasn't recorded too... Aaron and Dave's score is available on all major platforms, as are their other scores and their debut solo albums (each released in 2023). Adolescence is currently on Netflix, and there are rumors that a second season may come (though this would at least be a surprise to me). You can find out more about Aaron and Dave on their joint website.

Although we're now a couple months into 2025, I finally present you with the "best" film scores of 2024. As usual, there are some very mainstream scores in here that most observers would agree with and there are a few left field choices. If you're a longtime listener, that shouldn't surprise you. As with all of these lists, although I say they're the "best", what I really mean is these are my favorites. Who's to say what's really the best? Surely not me. If you can't control yourself, look below to see what scores I picked, though you'll miss out on the why of it all. And make sure to check out my conversation with David Rosen (from Piecing It Together) to see what we think are the best film scores of the decade (so far). Evil Does Not Exist – Eiko Ishibashi Smile 2 – Cristobal Tapia de Veer Megalopolis - Osvaldo Golijov AGGRO DR1FT – AraabMuzik Dune 2 – Hans Zimmer The Brutalist – Daniel Blumberg Challengers – Trent Reznor & Atticus Ross Le Comte de Monte Cristo (The Count of Monte Cristo) - Jerome Rebotier Kingdom of the Planet of the Apes - John Paesano A Different Man – Umberto Smerilli

It's a bit worrying to realize that we're now over halfway through the 2020s - where has the time gone? Well, I suppose we all know one collective reason why it feels like a blur... But rather than lament the passage of time, I've decided to celebrate what's been released during the last five years; specifically, celebrating the "best" film scores of the decade, so far. Joining me in this endeavor is David Rosen, a fellow podcast host and film composer. Dave and I have "known" each other virtually for a few years now and this gave us a good reason to hop on video for a little while. I'll also give a shout out to Dave's primary podcast, Piecing It Together, where he and various guest hosts look at what past films (the puzzle pieces) have inspired the films of today (the puzzle). It's a pretty cool show, even if I've always been too hesitant to hop on and join for an episode. If you don't want to listen, you can see each of our lists below (though you'll miss out on the why of the choices, which is most of the fun). My list isn't presented in any particular order while Dave's is presented in descending order, saving the best for last. Don't be shy, feel free to chime in (whether commenting on this episode, dm, or calling me out publicly) with some of your favorite scores of the decade too. Nick's List: Blonde – Nick Cave and Warren Ellis Drive My Car – Eiko Ishibashi Oppenheimer – Ludwig Göransson The Batman – Michael Giacchino Dune (Parts 1 and 2) – Hans Zimmer The Brutalist – Daniel Blumberg The Green Knight – Daniel Hart The Personal History of David Copperfield – Christopher Willis Cryptozoo – John Carroll Kirby Smile 2 – Cristobal Tapia de Veer Dave's List: 10. Challengers – Trent Reznor & Atticus Ross 9. Gretel and Hansel – Rob 8. The Last Duel – Harry Gregson-Williams 7. Minari – Emile Mosseri 6. The Brutalist – Daniel Blumberg 5. Smile 2 – Cristobal Tapia de Veer 4. Conclave – Volker Bertelmann 3. A Different Man – Umberto Smerilli 2. Windfall – Danny Bensi & Saunder Jurriaans 1. Oppenheimer – Ludwig Göransson

In an absolute coincidence, during International Women's Month Meg Remy (U.S. Girls) and Grace Glowicki join me on The Film Scorer Podcast! Our primary focus is the film Dead Lover, for which Grace is director, co-writer, and lead actress and Meg provided most of the score. As such, we talk about the film itself, the music (and how Meg and Grace worked together on it, trying to find a unifying style), and the benefit of having a female director and composer working together on a female-centric film. The reason I say that Meg provided most of the score is because of the unusual approach they took to music on the film. Dead Lover is set in a sort of kaleidoscopic Victorian England that constantly jumps around in palette, tone, and style, and with added influences like German Expressionism and silent film. So Meg wrote original music, but also started pulled old music she'd written 15-20 years ago sitting unused on hard drives and scouring public domain music as well. While the final music is incredibly diverse, jumping from opera to 70s prog doom, they manage to unify it and make it all work. Meg's score release is forthcoming (I believe), but her other music is available on all major platforms. Dead Lover is currently on the festival circuit, including at SXSW on March 9. You can find out more about Meg/U.S. Girls on her website.

Rihards Zalupe joins The Film Scorer Podcast! Rihards' latest score is for the Oscar and BAFTA nominated animated film Flow, which he co-composed with the film's writer and director Gints Zilbalodis. As such, Rihards and I spend much of our conversation talking about the score, including creating themes or specific sonic palette choices for each of the film's different animal main characters, co-composing a score with the film's director (which was also Gints' first time working with a composer on one of his films), and how Cat has become one of Latvia's national heroes. Rihards' score, and much of his other music, is available on all major platforms. Flow is available on demand or streaming on HBO Max. You can find out more about Rihards on his website.

The BAFTAs air on February 16 and the Oscars on March 2. I'd never consider myself a big awards season guy, but I love that it's the one time of year where film music is widely celebrated and has a little spotlight, if only briefly. As such, here's a little peek into the six nominated scores between the two awards. I've also done interviews on two of the six nominated scores (The Wild Robot and The Brutalist) and also interviewed Volker Bertelmann a little while back about his BAFTA and Oscar winning score for All Quiet on the Western Front, so seek those out as well BAFTAs: Nosferatu – Robin Carolan Emilia Perez– Camille and Clément Ducol Conclave – Volker Bertelmann The Wild Robot – Kris Bowers The Brutalist – Daniel Blumberg Oscars: Wicked  – John Powell and Stephen Schwartz Emilia Perez– Camille and Clément Ducol Conclave – Volker Bertelmann The Wild Robot – Kris Bowers The Brutalist – Daniel Blumberg  

Although we've just entered 2025, this series is deep in the middle of 2024. The months of April, May, and June released some of my favorite scores of the year (feel free to guess which) as well as arguably the most popular score of the year in Trent Reznor and Atticus Ross's Challengers, and plenty more scores, both big and small. I also noticed that I've interviewed almost a third of the composers mentioned during this period - I still get surprised now and again with just how many folks I've interviewed! Keep your eye on The Film Scorer website for reviews and articles covering some of these scores, including detailed writeups and lists. April: https://thefilmscorer.com/the-best-film-scores-of-april-2024/  For a full list of the scores discussed in this episode, see below: Challengers - Trent Reznor and Atticus Ross Confidenza - Thom Yorke Horizon: An American Saga, Chapter 1 - John Debney The Dead Don't Hurt - Viggo Mortensen Le Comte de Monte Cristo (The Count of Monte Cristo) - Jerome Rebotier Kingdom of the Planet of the Apes - John Paesano Furiosa: A Mad Max Saga - Tom Holkenborg Rebel Moon - Part Two: The Scargiver - Tom Holkenborg Young Woman and the Sea - Amelia Warner The Rooster - Stefan Gregory The Swimming Diaries - Donna McKevitt Evil Does Not Exist - Eiko Ishibashi The First Omen - Mark Korven All You Need Is Death - Ian Lynch I Saw the TV Glow - Alex G The Glassworker - Carmine Di Florio and Usman Riaz Back to Black - Nick Cave and Warren Elli Sasquatch Sunset - The Octopus Project Civil War - Geoff Barrow and Ben Salisbury We Grown Now - Jay Wadley Unfrosted - Christophe Beck The Ministry of Ungentlemanly Warfare - Christopher Benstead If - Michael Giacchino Hit Man - Graham Reynolds

In a quick 1-2 punch after talking with Daniel Blumberg (The Brutalist), Bryce Dessner (The National, The Revenant, The Two Popes) joins The Film Scorer podcast! Bryce released two scores last year, for the films Sing Sing and We Live In Time. However, Bryce and I were under a tight time constraint and so had to pick and choose what we chatted about; no time for a classic rambling conversation. As such, we spend much of our conversation covering his score for Sing Sing. This includes, among other things, choosing to focus the music on nature and escapism (rather than the more obvious matching of the prison setting), making space for the performers, and the film's equitable compensation system. Of course, we still manage to pack a lot in, so we cover quite a bit more as well, both about Sing Sing and various unexpected topics. Bryce's score, and much of his other music, is available on all major platforms. Sing Sing was released earlier last year and will be re-released in theaters (at least in the US) on January 1. You can find out more about Bryce on his website.

Much to my dismay, The Brutalist is not an industrial grindcore band. Nonetheless, I feel compelled to talk about it. As such, composer Daniel Blumberg joins the show! It should be no surprise, then, that we spend much of our time talking about his score to Brady Corbet's 3.5 hour epic, which is only Daniel's second feature score. This includes discussing the balance between improvisational and written music (especially when scoring to picture), using prepared piano to mirror the imagery and plot of the film, and how he and the sound design team overlapped their crafts to confuse the audience (and some of the other crew). Of course, we chat about a bunch of other things in between. Daniel's score, and much of his other music, is available on all major platforms. The Brutalist is forthcoming, currently in limited theatrical release and will expand shortly.

Composer Donna McKevitt joins The Film Scorer Podcast! Donna is someone that I've chatted to here and there over the last few years, so it was a treat having her on the show and finally getting the chance to "meet" her. Her latest scores are for The Swimming Diaries and My Name is Alfred Hitchcock, two very different documentaries and very different scores. Unsurprisingly, we spend much of our conversation talking about those two works, while also pivoting into other topics like the discrepancy in representation of male and female composers, the challenges that touring musicians face (and how much better things used to be, such as during her time in Miranda Sex Garden), and plenty more. Donna's scores, and much of her other music, is available on all major platforms. The Swimming Diaries and My Name is Alfred Hitchcock are both forthcoming. You can find out more about Donna on her website.

The Angel (Boiler Room, Kidulthood) joins The Film Scorer! Angel's latest score is for the crime thriller Heist 88, which came out last year but her score only released last month. As such, we spend much of our conversation talking about the score, including the hybrid palette, influences from Chicago's 1980s club/house music scene, and getting into Courtney B. Vance's head. We also touch on some of her other film and TV projects, her long career as a record producer and DJ, obtaining her early publishing catalog from Sony, and plenty more! Angel's score, and much of her other music, is available on all major platforms. Heist 88 is currently available on Paramount+ or on demand. You can find out more about Angel on her website.

In the latest episode of The Film Scorer podcast I'm joined by Wilbert Roget, II (Star Wars: Outlaws, Helldivers 2, Mortal Kombat). While Wilbert is best known for his work scoring video games, including recently receiving a Grammy nomination for Star Wars: Outlaws, our focus is on something a little different. Wilbert has just made his first foray into scoring for tv, with the limited series Gundam: Requiem for Vengeance! As such, we dig deep into his score for the six-episode series, including building out the eclectic sonic palette, working closely with the Japanese team, being the first non-Japanese composer to score a Gundam project (and the pressures that come with that, and plenty more. He even lists some of his favorite Gundam series, both in terms of overall show as well as primarily for their score. We also drive down other avenues, such as his work on other games, scoring 48-hour game jams, and how Japanese music his significantly impacted him. Wilbert's score, and much of his other music, is available on all major platforms. Gundam: Requiem for Vengeance is currently on Netflix (at least in most territories). You can find out more about Wilbert on his website.

Season 5 of The Film Scorer Podcast continues to pick up steam as Kris Bowers (Bridgerton, Green Book) joins the show! The Academy Award winner and nominee (who was just nominated for a Grammy for his score to The Color Purple a few days ago) recently scored the hit animated film The Wild Robot. As such, Kris and I spend much of our conversation talking about his score, which is both adventurous and a tearjerker, and filled with thematic exploration. The conversation touches on the challenges of scoring for animation, the increasing amount of space the film made for Kris's score, how it let Kris run wild with his passion for thematic and melodic scoring (drawing a number of Star Wars parallels), and plenty more. Kris's score, and much of his other music, is available on all major platforms. The Wild Robot is currently in theaters, with a home release imminent. You can find out more about Kris on his website.

Season 5 of The Film Scorer Podcast is here! In the Season 5 premiere I chat with composer Amelia Warner. Amelia's latest score is for the Disney sports biopic Young Woman and the Sea (starring Daisy Ridley), about Trudy Ederle, the first woman to swim across the English Channel. As such, we spend much of our conversation focused on that score, including how her score and approaches developed over time, balancing the film's sports and family aspects, working closely with legendary producer Jerry Bruckheimer, and plenty more. Along the way, we also talk about things like Mary Shelley and the pros and cons of temp music. Amelia's score, and much of her other music, is available on all major platforms, and Young Woman and the Sea is currently available on Disney+. You can find out more about Amelia on her website.

Season Five of The Film Scorer Podcast is almost here! The new season launches on Sunday, October 27th, with new episodes continuing every other Sunday after that (more or less). Given the breadth of guests in season three, including Academy Award nominated actor-turned-composer Viggo Mortensen, Pulitzer Prize winner Michael Abels, 2024 Academy Award nominees Jerskin Fendrix and Laura Karpman, Vampire Weekend's Rostam Batmanglij, you never who will show up this time around - all I can say is I already have some great guests lined up! So subscribe on your favorite podcast platform, follow The Film Scorer on Instagram, Twitter, and Threads, and keep those ears open!

Dipping back into the well again, reaching to September 2020, here's the audio version (cleaned up and shortened) of my review of Mondo Boys' score for She Dies Tomorrow. Again, the audio is still a little rougher but after thirty seconds or so you don't really notice (or at least I didn't as I was editing). There's also a nauseating little cue thrown in the middle - which I embarrassingly called a "song", which Sony was kind enough to give me permission to use when I first recorded this. I don't have a written review of this one, but I did end up reaching out to Mondo Boys shortly after and interviewing them: https://thefilmscorer.com/an-interview-with-mondo-boys/ This is one of my favorite interviews, because we recorded for about two and a half hours on a Saturday night, drinking whiskey. How I turned it into a tight, coherent, sub-hour interview I don't know...

Just because the podcast is between seasons and on a brief hiatus doesn't mean that the work stops. To keep me busy, I chatted with Brooke Blair and Will Blair (Blue Ruin, Green Room), the very rare sibling composer duo, about their latest score: Rebel Ridge. Rebel Ridge marks the fifth collaboration between the Blair Bros. and director Jeremy Saulnier, and is arguably their best. As such, we spend much of our time talking about their score, including developing the palette, experimenting with and avoiding musical clichés, and mimicking cicadas as a “symphony of terror”. Beyond that, though, we discuss what it's like to build your career alongside a director, how to uncover a director's preferences (and the benefits in doing so), working as brothers (including when their third brother, Macon (I Don't Feel at Home in This World Anymore) gets added to the mix, and plenty more. I even try to get a little inside information about the forthcoming Toxic Avenger film, which they scored and their brother Macon directed, but no luck. For your benefit, the first long answer you'll hear comes from Will. Brooke and Will's score, and much of their other music, is available on all major platforms, and Rebel Ridge is currently available on Netflix. You can find out more about Brooke and Will on their website.

Welcome in the new year (and forget that it's already September) by hearing about some of the best and most notable film scores kicking off 2024, including Dune: Prat 2 by Hans Zimmer, Spaceman by Max Richter, and plenty more, both big and small. Remember: the show is still in hiatus between seasons, but hopefully this can hold you over a little bit. Keep your eye on The Film Scorer website for reviews and articles covering some of these scores, including detailed writeups and lists. For a full list of the scores discussed in this episode, see below: Dune: Part 2 - Hans Zimmer Kung Fu Panda 4 - Steve Mazzaro and Hans Zimmer The Primevals - Richard Band Ghostbusters: Frozen Empire - Dario Marianelli Godzilla x Kong: The New Empire - Antonio Di Iorio and Tom Holkenborg How to Have Sex – Jakwob Happy Palace - Adrian Leung Silent Love - Joe Hisaishi The Seeding - Tristan Bechet (aka TRZTN) Night Swim - Mark Korven When Evil Lurks - Pablo Fuu Out of Darkness - Adam Janota Bzowski Femme - Adam Janota Bzowski Drive-Away Dolls - Carter Burwell Spaceman - Max Richter Love Lies Bleeding - Clint Mansell Problemista - Robert Ouyang Rusli Cop vs. Killer - Shaun Hettinger The End We Start From - Anna Meredith Home Sweet Home - Michael Kamm, Paul Rischer, and Maximilian Stephan Custom - Ted Regklis Des Teufels Bad - Anja Plaschg (aka Soap&Skin) Asphalt City - Nicolas Becker and Quentin Sirjacq Vivre avec les loups - Armand Amar

Somewhat early on in The Film Scorer days, I did a few video reviews of film scores. The first was the 1974 score for Five Shaolin Masters, by the prolific Chinese composer Yung-Yu Chen. Given that the show is currently between seasons, there's a bit of time to kill (and I know you're all clamoring for new episodes), so I've decided to clean these up a bit and release them through the podcast as well. First off: Chen's score. The audio here is a little rougher than you're used to, as it may have been before I even owned a mic. But that's balanced out by a nice little capture of the main motif of the score that comes about halfway through. This also went surprisingly "viral" on YouTube, racking up nearly 60,000 views. If you enjoy this and want some more, just let me know - I've been meaning to record some more reviews and keep procrastinating... You can also read my review here: https://thefilmscorer.com/five-shaolin-masters-yung-yu-chen-1974-film-score-review/

We've reached the end . . . of season 4. To commemorate the occasion, Daniel Hart (The Green Knight, A Ghost Story) joins The Film Scorer! Daniel is fresh off of scoring season 2 of Interview with the Vampire, which itself had its season finale only a couple of weeks ago. As such, Daniel and I spend a lot of the interview discussing his scores for both seasons of the show (and some hints about what's to come in the newly-announced season 3). We then break out from there, discussing Philip Glass, the prospects of writing a recorder concerto, and plenty more. Daniel's score, and much of his other music, is available on all major platforms, and the series is available on AMC. You can find out more about Daniel on his website.

As season 4 draws to a close, I'm joined by someone all of you should know: Viggo Mortensen (The Lord of the Rings, The Road)! One thing you might not know about Viggo - it was certainly news to me - is that he's also a musician, making a number of albums with famed guitarist Buckethead and even scoring a couple films, including his latest directorial effort The Dead Don't Hurt. As such, we discuss his musical history, his score for The Dead Don't Hurt, his first foray into making music for film in The Lord of the Rings: The Return of the King, balancing various behind-the-scenes roles in the same film, and plenty more. Even though this is a pretty short interview, we cover a surprising amount of ground. Candidly, this was the most surreal, hard to believe interview I've ever done. When I saw Viggo pop up on video to chat with me, I was certain I was being pranked, or maybe just dreaming; I'm sure I'll wake up at any second... Viggo's score is available on all major platforms, while The Dead Don't Hurt has just finished its theatrical run and will likely be coming to home video soon. I also want to flag that I accidentally attribute a (poorly) paraphrased quote to Ernest Hemingway that's actually from Mark Twain.

On the latest episode, I'm joined by Jason Graves! Jason is best known for a number of different video game scores, such as the Dead Space games, Tomb Raider, Far Cry Primal, and Moss 1 and 2, so it's no surprise that we spend much of our conversation talking about his latest game scores: Still Wakes the Deep and No Rest for the Wicked. They're two very different games, in terms of genre, style, gameplay, and more, and so Jason's scores are equally unique. We probably spend the most time talking about the former game's score, which is a combination of a string quarter, woodwinds, a bass synth, and a roughly two foot tall sculpture - it may seem weird, but I promise that it sounds good. Along the way, we cover things like his journey through scoring, how he works with game writers to understand concepts and plot points before they're rendered in-game, and differences (perceived and real) between scoring for film and video games.   Still Wakes the Deep (the game and the score) releases on June 18, while No Rest for the Wicked is currently in early access with Jason's score forthcoming. You can also find many of Jason's other scores physically or on all major platforms. Find out more about Jason on his website.

Recently anointed Grammy winner Carla Patullo joins The Film Scorer podcast! While Carla has over thirty scores under her belt, she might be most known for her non-score album So She Howls, for which Carla won the Grammy for Best New Age, Ambient, or Chant Album earlier this year. Unsurprisingly, then, Carla and I spend a fair bit of time talking about that album. However, and perhaps more importantly, we actually focus much of our discussion on the genesis of that album: Carla's cancer diagnosis a few years ago. Carla began by recording little voice and vocal snippets, which eventually evolved into a full album. She told me she was worried it might be her final album, but that if so she wanted a chance to sing "one last time". Fortunately, it isn't.  We also move into discussions on the scoring world, her love for short films, the concerns surrounding AI, and plenty more. You can find out more about Carla on her website.

In a Film Scorer first, a composer-director team joins the show! Composer Suvi-Eeva Äikäs & director Ben Steiner recently worked together on Ben's film Matriarch (which Ben directed and which Suvi scored). As such, we primarily talk about Suvi's score for Matriarch from both the director and composer perspectives (and with them each touching on sound design as well, particularly regarding the score edging into sound design and the sound design edging into score). Along the way, we touch on some big questions, like the role of film music, collaborating (and how to push back), and plenty more. Suvi and Ben actually connected in Bristol, England through a mutual friend, Ben Salisbury (Annihilation, Ex Machina). Suvi has also worked with Ben Salisbury and his longtime composing partner Geoff Barrow on several projects, including Devs and Men. You can find out more about Suvi on her website or about Ben on his website. Suvi's score is out on all major platforms, and Matriarch is currently on Hulu.

While 2023 ended several months ago, here at The Film Scorer it's only just happened. Tune-in to hear about some of the best film scores that rounded-out the year, included Poor Things by Jerskin Fendrix, Killers of the Flower Moon by Robbie Robertson, Godzilla: Minus One by Naoki Sato, and plenty more that you may not be quite as familiar with. Keep your eye on The Film Scorer website for reviews and articles covering some of these scores, including detailed writeups and lists. For a full list of the scores discussed in this episode, see below: Poor Things - Jerskin Fendrix American Fiction - Laura Karpman The Marvels - Laura Karpman Killers of the Flower Moon - Robbie Robertson All of Us Strangers - Emilie Levienaise-Farrouch The Killer - Trent Reznor and Atticus Ross L'autre Laurens - Thomas Turine My Animal - Augustus Muller/Boy Harsher Holly - Johnny Jewel The Royal Hotel - Jed Palmer Biosphere - Danny Bensi and Saunder Jurriaans The Pigeon Tunnel - Philip Glass and Paul Leonard-Morgan Grasshopper Republic - Robert Aiki Aubrey Lowe Dream Scenario - Owen Pallett Saltburn - Anthony Willis Napoleon - Martin Phipps Mars Express - Fred Avril and Philippe Monthaye Godzilla Minus One - Naoki Sati Eileen - Richard Reed Parry The Iron Claw - Richard Reed Parry Society of the Snow - Michael Giacchino Leave the World Behind - Mac Quayle The Boys in the Boat - Alexandre Desplat Chicken Run: Dawn of the Nugget - Harry Gregson-Williams Migration - John Powell Rebel Moon - Part One - Tom Holkenberg/Junkie XL Ferrari - Daniel Pemberton

Fresh off of scoring Evil Does Not Exist, composer Eiko Ishibashi joins The Film Scorer podcast! Evil Does Not Exist is Eiko's second collaboration with acclaimed director Ryusuke Hamaguchi, and the film itself actually stemmed from Eiko approaching Ryusuke regarding providing visuals for her live performance. Evil Does Not Exist grew out of that, while also spawning the film Gift, a sort of "composer's cut" of Evil Does Not Exist, which removes spoken dialogue and focuses on Eiko's music. Not surprisingly, we compare and contrast her work on Evil Does Not Exist and her prior score, Drive My Car (the Oscar winner for Best International Film). Along the way, we also cover things like Eiko's approach to music and preference to giving control to the director, trends in Japanese film music, and more.  Note that this is an interpreted interview, so you'll hear snippets of Eiko's responses in Japanese but the answers are primarily via English translation. You can find out more about Eiko on her website. Eiko's score releases digitally and on physical media on June 28, and Evil Does Not Exist is currently in theaters.

To celebrate his first full-length tv series score, Gareth Coker joins The Film Scorer podcast! You video game fans in particular may know Gareth from his work scoring games like Ori, Ark, and Halo Infinite, but Gareth hasn't stopped there. Given that he's already scored the various Ark games, it's no surprise that he was tapped to score Ark: The Animated Series, the animated adaptation of the Ark games. As such, we spend much of our interview talking about his scores for both the show and the game series and the interaction between the two, such as shared palettes and themes (including for the Broodmother fights). Along the way, we also talk about things like the score for Shōgun (Gareth's a fan), the keys behind making great exploration music (with a shoutout to Jesper Kyd's score for Assassin's Creed 2), and plenty more. Candidly I wasn't super familiar with Gareth's music previously, other than his work on Ori and the Blind Forest, largely because I don't really play video games, which in turn probably limits how much video game music I listen to broadly. So preparing to talk with Gareth gave me the chance/excuse to start digging into his other scores, primarily for the Ark games. With Ark: The Animated Series, Gareth is able to bring the Ark palette into tv, with a massive orchestral score that's actually packed but also heavily focused on building great character themes. The success and quality of the score is, in part, a testament to the resources given to Gareth in the scoring process, something I'd love to see every studio do! You can find out more about Gareth on his website. Ark: The Animated Series is currently streaming on Paramount+ while Gareth's score, and much of his other music, is widely available digitally.

Five-time Grammy winner Mike Post joins The Film Scorer podcast! A lot of you will probably be familiar with Mike already, who boasts one of the most impressive tv resumes of all time. For those of you that aren't, Mike's responsible for the two-note “dun-dun” sound in Law & Order, as well as themes and scores for shows like The Rockford Files, Hill Street Blues, The A-Team, Magnum P.I., NYPD Blue, L.A. Law, various Law & Order shows, and many, many more. He's also played for and with tons of classic artists, like Sonny & Cher and Kenny Rogers, and has produced albums for a number of artists, including Van Halen. Frankly, it's one heck of a career. Despite all that, Mike and I focus our conversation on something a bit different: his new album, Message from the Mountains & Echoes of the Delta (though of course we still talk a bit about some of those other pieces too - they're too intriguing to pass up!). Message from the Mountains & Echoes of the Delta marks Mike's first non-tv album in something like 55 years. I assumed that would be particularly exciting, releasing music that's his, but he surprised me by saying "[t]he music I make for TV is my own music, it's just attached to somebody else's art.” It's a very cool mixture, with half of the album being an exploration of an orchestra and bluegrass rhythm section and the second half exploring orchestra and the blues. He's also pulled in some of the heaviest hitters in each respective genre to make up the rhythm sections - highly recommend looking up each player! You can find out more about Mike on his website. Message from the Mountains & Echoes of the Delta is currently available on all major platforms here.

Last year's Winnie-the-Pooh: Blood and Honey drew a pretty divisive reception, but my favorite part, Andrew Scott Bell's score, rose above all the noise and discord. With Winnie-the-Pooh: Blood and Honey 2 about to release, Andrew joins me on The Film Scorer podcast. Unsurprisingly, Andrew and I spend a good chunk of the interview talking about his scores for both parts, including the aspect that impressed me the most: how he crafts an organic, "real" sounding score in the face of a very limited budget. Along the way, he talks about the importance of staying a bit playful, he showcases some of the weird, custom instruments used in his scores (like the "beehiveolin", a cello made out of a bear's skull, and the "glorious box"), and Andrew plays some clips from his scores for parts 1 and 2. The latter aspect was really cool: Andrew had a number of cues ready to go to give a closer view into the sound of the score. You can find out more about Andrew on his website. Andrew's various scores are available on all major platforms, while Winnie-the-Pooh: Blood and Honey 2 plays in theaters from March 26-28, with the score release likely to follow shortly thereafter.

Another year, another list of the ten "best" film scores, this time I'm running through 2023. These scores aren't presented in any particular order - I intended to go alphabetically, but instead ended up going by vibes instead, wherever the solo conversation took me. At the end of the day, even though these are described as the "best", they're really just favorites - the idea of something being "best" in the arts is silly, and any attempt to discover that sort of "truth" futile. Feel free to chime in with some of your favorites from the world of film and beyond!

Composer Tom Schraeder joins me for my first-ever in-person interview. Tom and I broke the ice by chatting for about an hour in my kitchen before heading downstairs and hitting record, and I think the comfort really shows up here. Tom has scored a number of horror films particularly, in addition to a long career as a folk musician, and we use both as jumping off points for our discussion, digging into more conceptual pieces rather than focusing on any single particular score or piece of music (although plenty still come up. As such, it's a pretty wide-ranging conversion, not only hitting a few of his old and upcoming scores, but also things like anxiety, finding musicians to work with, and music serving as a way to memorialize those who've passed.   You can find out more about Tom on his website. Tom's various scores, and much of his other music, are available on all major platforms.

Composer Emilie Levienaise-Farrouch joins the show! Emilie's latest score is for the film All of Us Strangers, a sort of romance-fantasy-supernatural film that I found absolutely moving. As such, we primarily talk about her score for that film, including talking about striking an emotional balance (one that feels organic but not manipulative), avoiding falling into "period" piece clichés, and more. We then meander into other topics, like the use of Michel Legrand's score from The Go-Between in May December and the freedom that horror gives composers. You can find out more about Emilie on her website. All of Us Strangers is currently in theaters, and Emilie's score is available on all major platforms with a curated vinyl release forthcoming. You may have seem me talk about how much I love when a score release is curated, so it shouldn't be a surprise to say I'm looking forward to that!

The BAFTAs air on February 18 and the Oscars on March 10 - I know many folks don't necessarily like the awards season, but it's the time of year where film music has the spotlight on it and is celebrated in the mainstream. As such, here's a little peek into the seven nominated scores between the two awards. I've also done interviews on four of the eight nominated scores, so seek those out as well BAFTAs: Killers of the Flower Moon – Robbie Robertson Oppenheimer – Ludwig Göransson Poor Things – Jerskin Fendrix Saltburn – Anthony Willis Spider-Man: Across the Spider-Verse – Daniel Pemberton Oscars: Killers of the Flower Moon – Robbie Robertson Oppenheimer – Ludwig Göransson Poor Things – Jerskin Fendrix American Fiction – Laura Karpman Indiana Jones and the Dial of Destiny – John Williams

The Film Scorer Podcast is back from its season 4 mid-season break! To celebrate in this return, Sam Haft joins the show! As of now, Sam might be best known for being one-half of the duo The Living Tombstone, alongside Yoav Landau. Unsurprisingly, we dig a little bit into this, including how Sam got involved in the band (and his broader musical journey) and what his music-writing relationship with Yoav is like. The bigger part of our conversation, however, surrounds the new Prime adult-animated-musical series, Hazbin Hotel. Sam co-wrote all of the songs in the series (alongside Andrew Underberg). As such, Sam and I primarily talk about the show and his songs, including the demanding pace of work, how his writing process differs from that in The Living Tombstone, and the pressure of pleasing a large, dedicated fanbase. The entirety of season 1 of Hazbin Hotel is now out on Prime, while Sam's songs (and much of his other music) is widely available on all major digital platforms. You can find out more about Sam on his website.

A few weeks ago Variety published an opinion piece about the use of Michel Legrand's score for The Go-Between in May December. The piece argued that not only was this choice ill-advised, but that reusing film music “is never a good idea.” It proved to be an interesting discussion topic, and a bit of a lightning rod, so I've given my thoughts briefly as well. Article: https://variety.com/2024/awards/opinion/why-music-for-may-december-viral-hot-dog-scene-is-problematic-1235866494/  My response article: https://thefilmscorer.com/on-reusing-film-music/  Some other examples of scores being repurposed: https://x.com/TheTumboy/status/1745137541613764976?s=20 

Welcome to 2024, and welcome to another interview on The Film Scorer! Joining me to kick off the new year is harmonicist extraordinaire Frédéric Yonnet. Fred has toured and performed with an incredible slate of legendary musicians, like Stevie Wonder, Prince, John Mayer, Ed Sheeran, Erykah Badu, John Legend, The Roots, Usher, Talib Kweli, Yasiin Bey (f/k/a Mos Def), De La Soul, and A Tribe Called Quest, among many others. Even if you haven't heard of Fred before, you've definitely heard his harmonica. With all that said, why is he chatting with The Film Scorer? It's because his work doesn't end there. Fred has lent his virtuosic harmonica playing to various film projects, including the Robbie Robertson composed scores for The Irishman (where his harmonica channels death) and, most recently, the Golden Globe nominated Killers of the Flower Moon (where his harmonica channels greed). As such, while we start off talking about his love of the harmonica and performing with various music legends, our conversation ultimately leads to Robbie Robertson, The Irishman, Killers of the Flower Moon, and Fred's playful run-in with Scorsese at Cannes. Killers of the Flower Moon is currently available for digital rental, and releases on Apple TV+ on January 12 with a physical release expected sometime this month. You can hear Fred's harmonica on the film's score, which is widely available digitally or via physical release, and you can find out more about Fred on his website. NOTE: A prior version of this had audio issues, which should now be resolved.

2023 is nearly over, and to lead into the new year, The Film Scorer keeps you up to date on recent releases (perfect to chat about with your family over the holidays) by covering some of the best and most notable film scores released from July through September of this year, featuring scores like Oppenheimer by Ludwig Göransson, Teenage Mutant Ninja Turtles: Mutant Mayhem by Trent Reznor and Atticus Ross, Bottoms by Leo Birnberg and Charli XCX, and many more! Keep your eye on The Film Scorer website for reviews and articles covering some of these scores, including detailed writeups and lists.

Pulitzer Prize winning composer Michael Abels (Get Out, Nope) joins the show to round out 2023! Not surprisingly, Michael and I spend a fair amount of time talking about his work with Jordan Peele on the films Get Out, Us, and Nope, including a broad look at their working relationship and how it fulfilled Michael's long-time dream of working in film. But Michael also scored a couple films this year, which we then dig into, including The Burial and Landscape with Invisible Hand. Primarily, we talk about his work on The Burial, in which Jamie Foxx gives an electric performance. As such, Michael digs into the score, including discussing how the palette is aimed at universality, giving space to Foxx and the film's licensed music, and adapting the Bach piece "Jesu, Joy of Man's Desiring" into his score. Even though our chat is just under 25 minutes, we manage to squeeze a lot into it! The Burial is currently streaming on Amazon Prime while Landscape with Invisible Hand is available on MGM+. Meanwhile, Michael's score for both, as well as much of his other music, is available on all major platforms. In addition, you can find out more about Michael on his website. Have a great rest of the year, and I'll talk to you all in 2024...

As 2023 starts to close, and the awards season begins to heat up, I'm joined with the composer for what's being widely hailed as one of the best film scores of the year: Jerskin Fendrix. Jerskin's latest score is for the film Poor Things, directed by Yorgos Lanthimos. But not only is Poor Things Jerskin's latest score, it's also his first. And it just landed him a Golden Globe nomination. Unsurprisingly, then, we spend most of our conversation talking about Jerskin's score. While this is a shorter interview, so we didn't have as much time to meander into tangents, we still found time to go on them, including comparing how personal and autobiographical solo music and scoring can be, looking for "honesty" in music, and more. Poor Things is currently playing in limited release, moving to a full theatrical release on December 22, 2023, while Jerskin's score, and much of his debut solo album, is available on all major platforms.

Experimental composer Robert Aiki Aubrey Lowe (Candyman) joins The Film Scorer podcast in the midst of the year-end blitz. Rob's latest score is for the vérité-style documentary Grasshopper Republic. As such, we spend much of the conversation talking about, and around, Rob's score, which is certainly among the most overlooked of the year. Along the way we talk about Rob's general style and approach, tackle the big questions around how to roll back the commodification of music, and more. Grasshopper Republic is currently playing in certain festivals while Rob's score, and much of his other music, is available on all major platforms through Invada. Meanwhile, you can find out more about Rob on his website.

I'm getting closer and closer to having conducted one hundred composer interviews, and yet I don't think I've ever covered a Marvel score in one (let alone any superhero score). With Laura Karpman (Ms. Marvel, What If...?) joining the show, that all changes. Laura is fresh off of scoring the latest MCU film, The Marvels, starring Brie Larson (Captain Marvel), Iman Vellani (Ms. Marvel), and Teyonah Parris (Captain Rambeau), in an interplanetary adventure. As such, we spend most of the conversation digging into her score, and particularly the great lengths to which she was able to experiment with sound. Along the way we talk about composer unionization, her other new score, for the upcoming film American Fiction, and more! The Marvels is currently playing in theaters while Laura's score, and much of her other music, is available on all major platforms. American Fiction is set to release on December 15, and Laura's score is scheduled to release the same day. Meanwhile, you can find out more about Laura on her website. Note that there is a brief spoiler for The Marvels in the interview. Once you hear a chime, skip ahead 15 seconds to avoid it.

I've been familiar with Yair Elazar Glotman ever since I heard his score for Last and First Men, which he co-composed with the great Jóhann Jóhannsson. As such, it's great to finally have him on the show! Yair and I primarily talk about his score for the new Netflix crime thriller Reptile, for which Yair has composed a fairly dense, abstract, and textural score. The score - and the film overall - has homages to older noir films, helping solidify this film as a sort of neo-noir, but it's also aware of itself and these influences, giving them nods while also attempting something new and distinct. Along the way, we hit a number of other points, like Yair's constant quest for inspiration and knowledge (whether it be studying different playing or recording techniques, new composers, or esoteric music concepts), how scores and solo albums influence one another, and more. Reptile is currently available on Netflix while Yair's score, and much of his other music, is available on all major platforms. Meanwhile, you can find out more about Yair on his website.

In this somewhat Halloween-flavored episode, Rostam Batmanglij (Rostam) (ex-Vampire Weekend, The OA) joins the show! Taking a little detour from his solo and collab music, and writing and producing for other artists like Haim, Charli XCX, and Frank, Ocean, Rostam and I primarily talk about his new score for the film The Persian Version. Rostam's score is quite subtle and restrained, marrying ancient Iranian music with Western classical music, as well as some pop and more mainstream musical influences from the last several decades. His score is capped by a cover of Cyndi Lauper's classic "Girls Just Want To Have Fun", featuring some very cool Iranian musical twists. As always, Rostam and I travel along various tangents, including his interest in film music from a young age, his first post-college music gig (with composer Craig Wedren (Yellowjackets, School of Rock)) and how this experience influenced his work on Vampire Weekend, and his Iranian cultural identity. The Persian Version is available digitally while Rostam's score, and much of his other music, is available on all major platforms. Meanwhile, you can find out more about Rostam on his website.

To keep the newly-launched season 4 momentum rolling, I'm joined by composer Christopher Willis! Chris is actually responsible for some of my favorite scores in recent years, like The Death of Stalin and The Personal History of David Copperfield, as well as the excellent series Veep (among other things). However, I managed to keep the fan side of me at bay until the very end of our chat. Instead, we chat about his most recent works: the score for the animated film Lamya's Poem, featuring an incredibly lovely, lush main theme (one of my favorites of the year so far), and Demon 79, the last episode in the latest season of Black Mirror, which sees Chris embracing horror. Along the way, of course, we dig into a number of other topics as well. These include what it's like for Chris and his wife Elyse to work together creating music, the use of AI in music (and particularly film and tv music), and more! Lamya's Poem is available to rent or buy digitally while Demon 79 is available to watch on Netflix. Chris's scores for both, as well as many of his other works, are available to listen on all major platforms. Meanwhile, you can find out more about Chris on his website.

Season 4 is here! Charlie Clouser (the Saw series, Nine Inch Nails) joins the show to kick-off the latest season. Charlie and I talk about not just his score for the latest Saw film - Saw X - but his work throughout the series, including the famous and essential "Hello Zepp" themes found in each film. Near the end, Charlie indulges me on my personal curiosity regarding the surprising number of 90s and early 2000s industrial musicians that have found their way into the film and scoring worlds, expanding it to cover the desire for filmmakers to bring in musicians on the fringes of music. During this, he hypes up a number of great composers and scores, something I absolutely love to see! Charlie's score for Saw X surprised me given the amount of melody, seemingly broader palette, and sheer variety throughout. It isn't necessarily surprising, given his fixation on finding the perfect array of sounds to bring onto each project - hand-picking them from his seemingly-bottomless well of sounds collected over the last 40 years. But there's also an extreme level of technical precision on these scores, with endless tempo changes so that the film and its characters seem to be constantly moving to the rhythm of his score. Saw X is currently in theaters, while Charlie's score, as well as many of his other scores, is available digitally on all major platforms.

Season four of The Film Scorer Podcast is almost here! The new season launches on Sunday, October 1st, with new episodes continuing every other Sunday after that (more or less). Given the breadth of guests in season three, including Daniel Pemberton, Tim Hecker, and recent Oscar winner Volker Bertelmann, you never who will show up this time around - all I can say is I already have some great guests lined up! So subscribe on your favorite podcast platform, follow The Film Scorer on Instagram and Twitter, and keep those ears open!

Season 4 is just around the corner! But until then, satiate your film music appetite by joining The Film Scorer to hear about some of the best or most notable film scores released from April through June of this year, featuring scores like Carmen by Nicholas Britell, Indiana Jones and the Dial of Destiny by John Williams, and many more! Keep your eye on The Film Scorer website for reviews and articles covering some of these scores and see below for articles covering some of my favorite scores for the following months, including detailed writeups and lists.

Even though Season 3 is over and Season 4 has yet to begin, The Film Scorer podcast returns with a new interview. This time, I'm joined by composer Sherri Chung! Sherri (Riverdale, Kung Fu) and I intended to chat about her three latest projects, Gremlins: Secrets of the Mogwai, Based on a True Story, and Happiness for Beginners, but got sidetracked for quite a bit. As a result, we spend a while talking about: the current writers' and actors' strikes, and the impact that those have on film and tv composers; trying to find the opportunity to write music for herself and her personal projects; and "loyalty" between composers and directors, including what it feels like when a director chooses someone else to work with on their next project. Fortunately, I eventually find a little time to slip in some questions about Gremlins, and Sherri discusses working in the shadow of Jerry Goldsmith's excellent scores for the two films while crafting something wholly new and distinct. For those wondering, Season 4 is still at least a couple of months away. Sherri and I had been scheduling this interview since mid-June (prior to Season 3 ending), so I still wanted to get this conducted and released. That said, there may be a few other one-off interviews here and there prior to next season officially kicking-off. Stay tuned for more... You can find out more about Sherri on her website. Gremlins: Secrets of the Mogwai is currently on HBO Max, Based on a True Story is currently on Peacock, and Happiness for Beginners is currently on Netflix and Sherri's scores, as well as many of her other scores, are available digitally on all major platforms.