Podcast appearances and mentions of jon burlingame

Academy Award®-nominated composer Kris Bowers joins guest host Jon Burlingame to discuss his stunning orchestral score for "The Wild Robot," directed by Chris Sanders. The composer dives deep into how he crafted the film's sonic landscape, incorporating orchestral textures, electronic elements, and unique percussive sounds. He also shares insights into his collaboration with director Chris Sanders and how becoming a parent influenced his emotional approach to crafting the film's original score.“Chris [Sanders] talked about the role that music was going to need to play in this film... He already knew there were going to be these long stretches where we would have little to no dialogue. And he was trusting that music could help tell the story in those moments… Because for him, the idea of kindness as a survival technique, that was very, very key to the story... Really this idea of music needing to have this vulnerability, this warmth, clear melodic statements, and then also having the ability to go from small intimate moments to really big, huge action sequences.”—Kris Bowers, Composer, "The Wild Robot"Be sure to check out “The Wild Robot,” now available to stream and on Blu-ray, in Dolby Vision® and Dolby Atmos®.The soundtrack to “The Wild Robot” by Kris Bowers is also available to stream on Apple Music in Dolby Atmos!And don't miss our previous episode on the sound of “The Wild Robot,” with writer and director Chris Sanders.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Academy Award®-nominated composer Daniel Blumberg joins guest host Jon Burlingame to discuss his evocative and unconventional music for "The Brutalist," directed by Brady Corbet, which earned the film an Oscar® nomination for Best Original Score. Blumberg shares how his long-time friendship with Corbet influenced the creative process, how he crafted the film's musical language using improvisational techniques, and how he recorded some of the score's most striking pieces — including a live jazz sequence and a prepared piano overture, which was played on set to help choreograph the movement of one of the film's opening sequences."[Brady Corbet] wanted to shoot the overture [of] Laszlo leaving the Holocaust behind, arriving in New York, and the optimism of seeing the Statue of Liberty to music. So that was one of my first priorities: To create a demo that would work on set… I had this sample of a piano that I'd prepared in London. This sort of percussive piano where you interfere with the strings… John Cage put screws in between strings, and that was a sound that felt right… A few weeks later, we were playing it really loud on the set. And it was great because the cinematographer could move to the music and Adrian could move to the music and the music could cue the extras… I think it was successful in terms of having an impact for the opening of the film.”—Daniel Blumberg, Composer, "The Brutalist"Be sure to check out “The Brutalist,” now playing in theaters.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Academy Award®-winning composer Volker Bertelmann joins guest host Jon Burlingame to discuss his tense and atmospheric score for “Conclave,” directed by Edward Berger. Nominated for his third Oscar, Bertelmann — who won in 2023 for Berger's “All Quiet on the Western Front” — shares how he crafted the film's unique musical palette, eschewing the sounds of traditional church music in favor of experimental instruments like the Cristal Baschet. He also discusses his approach to scoring thrillers as well as his deep collaboration with Berger.“[Edward Berger's] feeling is that music is a third dimension, in a way. That it's something that adds a layer to the film… You can create links to scenes, but you can also use music detached from what you see… You can use it in areas where it's already starting to give someone a feeling, that you don't see in the scene, but somehow… undercurrent-ly… starts to rise… What I think Edward works a lot with is building tension up, but then cutting the music pretty hard, into silence. And then you're left in the silence. But the moment where it's cut is very important… It is intentionally being cut at a certain moment, and then there is maybe a natural sound where you suddenly feel much closer to the person than you felt before, because you are alone with a person in silence.”—Volker Bertelmann, Composer, “Conclave”Be sure to check out “Conclave,” now in theaters and available to stream in Dolby Vision® and Dolby Atmos®.Volker Bertelmann's soundtrack to “Conclave” is also available to stream on Apple Music in Dolby Atmos.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

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Academy Award® and Grammy Award®-winning songwriter Stephen Schwartz, Tony Award®-winning musical director Stephen Oremus, and Oscar-nominated composer John Powell join guest host Jon Burlingame for an in-depth discussion about bringing the iconic Broadway musical “Wicked” to the big screen. Together they discuss how they collaborated with director Jon M. Chu to adapt the beloved musical into a cinematic experience, the challenges of blending live and pre-recorded vocal performances, and the ways in which they expanded the orchestral arrangements to match the scale of this massive Hollywood movie musical.“We had spent so much time — and by ‘we' I mean myself and [writer] Winnie Holtzman — when we were writing the screenplay, which of course includes the songs [and] going through everything very meticulously with [director] John Chu, that basically he came in knowing how he was going to shoot it… But then, of course, once you're actually there and working with bodies and working within the environment, things will change… This was an extremely collaborative process all along the way. It wasn't as if we did some music work, then went away, and came back and were surprised by what was done with it… Nobody sort of went off and did his thing by himself.”—Stephen Schwartz, Executive Producer, Music and Lyrics, “Wicked” Be sure to check out “Wicked,” now in theaters in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Renowned film composer Harry Gregson-Williams joins guest host Jon Burlingame to discuss his sweeping score for “Gladiator II,” the highly anticipated sequel to Ridley Scott's 2000 Academy Award®-winning classic. Having collaborated with Scott on seven films now, Gregson-Williams shares his approach to crafting a fresh sound for the world of Gladiator while also paying homage to Hans Zimmer's iconic original score. From using ancient-inspired instruments and choirs, to experimenting with vocalists from around the globe, Gregson-Williams reveals how he wove together a richly textured score that enhances the film's epic scale and emotional depth.“The conversation I had with Ridley at first was that this is a fresh movie. It relates to the first movie, [but] let's not make our first port of call anything to do with the first score, thematically or otherwise, which was quite liberating. I knew we would circle back somehow, and lean on some of Hans's thematic material, just occasionally.”—Harry Gregson-Williams, Composer, “Gladiator II”Be sure to check out “Gladiator II,” now in theaters and Dolby Cinemas in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

In this episode, Michael and Tom march through the history of music in Walt Disney's animated productions, from Silly Symphonies to Snow White and beyond.Links:Michael's Disneyland History SegmentsImportant DIS links and more information!Connecting with Walt on TwitterSources:Books:The Musical World of Walt Disney by David TietyenDisney Melodies: The Magic of Disney Music by Karl BeaudryWebsites/Articles:Evolution of Disney MusicFrom “When You Wish Upon a Star' to ‘Let it Go,' Disney Has a History of Making Pop Culture Hits by Jon Burlingame for VarietyHow Disney Film Music Has Evolved Over the Decades: From Snow White to Frozen by Andrea LawrenceThe Genesis of Disney Music: 1920-1950 by Jason SchliermanThe Role of Music in Disney Movies by Kamran Ahmed Hosted on Acast. See acast.com/privacy for more information.

Agents Scott and Cam welcome Jon Burlingame, author of The Music of James Bond, to the show to discuss the history and legacy of 007 music. He also shares his favourite theme songs, scores, composers and more. You can purchase The Music of James Bond, or Dreamsville: Henry Mancini, Peter Gunn and Music for TV Noir, on Amazon. You can also hear more from Jon on the Disney For Scores podcast, or follow him on Twitter.  Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Social media: @spyhards Purchase the latest exclusive SpyHards merch at Redbubble. View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

This week Steve interviews renown film and television music historian Jon Burlingame about TV themes and the impact they've made over the years, referencing such classics as "Gilligan's Island," "The Beverly Hillbillies," "Game of Thrones," "Friends," "Cheers", "Mission Impossible," "Hawaii 5-0," "Combat" and many more. 

Academy Award®-winning composer Hildur Guðnadóttir and executive music producer Jason Ruder join our guest host, music journalist Jon Burlingame, to discuss their extraordinary work on “Joker: Folie à Deux.” The sequel to 2019's Oscar-winning “Joker” comes with high expectations, and Hildur and Jason talk about the challenge of evolving the sound of the Joker universe, while incorporating new elements like live-recorded songs and experimental instruments. They discuss how the music helps define the tone of the movie, blurring the lines between score and song to create an immersive experience.“We really wanted to honor the sound world that we had already established [from the first film]... so we didn't want to go too far away from it. We knew that there would be strings and there would be a cello connection… Well, it just so happened that my instrument that I used in the first song got stolen a week before the recording session. So I had actually intended to just use the same instrument, but the Gods of Creativity forced me in a different direction… So I came up with this idea of creating what I call ‘the string prison.' It's literally like an electric fence that's playable... an electroacoustic, large scale, playable string instrument that formed this prison cell of very, very, very hot strings, that I played through another instrument.”—Hildur Guðnadóttir, Composer, “Joker: Folie à Deux”Be sure to check out “Joker: Folie à Deux,” now in theaters, in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Jon Burlingame knows everything worth knowing about music for film and television. He teaches the subject at USC's Thornton School of Music, keeps up with current events and newcomers to the field for Variety, and has just published his seventh book, Dreamsville: Henry Mancini, Peter Gunn, and Music for TV Noir (BearManor Media). Like all of his work it is authoritative, well-written, and fun to read. Leonard and Jessie are longtime fans and friends and couldn't think of a nicer way to spend an hour.

To mark Henry Mancini's 100th birthday, music expert JonBurlingame takes us back to where the composer's prolific career really took off - the 1960s TV show Peter Gunn.

Pulitzer Prize-winning and Emmy- and Grammy-nominated composer Michael Abels joins our guest host, music journalist Jon Burlingame, to discuss the music of “Star Wars: The Acolyte.” The music for the series was a massive undertaking, made even more formidable by the knowledge that every cue would be compared to the work of legendary composer John Williams. But as a longtime fan of “Star Wars,” Abels jumped into the project eagerly.“I'm one of those people who saw the original trilogy in the theater, so I've grown up with ‘Star Wars' and with the music of John Williams… I think every fan actually has an assessment of what makes ‘Star Wars' ‘Star Wars.' So Leslye [Headland, creator and showrunner] and I talked about that… And we quickly aligned on that the music of ‘Star Wars,' while it's not necessary that it be old-school or traditional or orchestral, that's something that we both valued. And so it was our intention to have the score be very traditional in places where it called for that and where that would work. And at the same time, there are definite ways in which this series explores new ground. It's all new characters. There's a method to the storytelling that's distinctly Leslye's own. And so in those places, the score does what it needs to do to bring this new element to the story.” —Michael Abels, Composer, “Star Wars: The Acolyte”Be sure to check out “Star Wars: The Acolyte,” now streaming on Disney+.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Esteemed author, journalist and educator Jon Burlingame sits down for a brand new Film.Music.Media conversation! If you follow film and TV music at all then you'll recognize the name Jon Burlingame. When it comes to the topics of film and television music, Jon has been the leading author and journalist in the field covering almost every aspect of the art form and business. His articles, books, interviews and lectures have helped keep screen music as part of the public conversation for his entire career. For this interview we're excited to talk about Jon's latest book titled Dreamville: Henry Mancini, Peter Gunn And Music For TV Noir. The book is a fascinating and entertaining look into a specific point in the career of the great Henry Mancini. Jon talks about why he was inspired to write the book, why this point in TV music history is so important, and how he approaches his research and writing. We also take a look into Jon's path to film music journalism. Learn how Jon's career started in New York, and how it evolved into the world of film and TV music. A Film.Music.Media Production | Produced & Presented by Kaya Savas

This week Dale, Tim, and Carolyn talk with author and columnist Jon Burlingame about his new book, "Dreamsville." It's about the music of Henry Mancini and the development of TV and movie themes. It's very informative and very, very fun.

Send us a Text Message.Acclaimed historian/author Jon Burlingame brings hosts bassists David C. Gross and Tom Semioli back to the early days of television in his latest book Dreamsville: Henry Mancini, Peter Gunn, and Music for TV Noir. Author Jon Burlingame Takes Us to Dreamsville: Henry Mancini, Peter Gunn, and Music for TV Noir Playlist

Blockbuster film composer Tom Holkenborg — aka Junkie XL — returns to George Miller's post-apocalyptic dystopian world with his latest installment, “Furiosa: A Mad Max Saga.” Regular guest host Jon Burlingame joins the podcast to discuss Holkenborg's hands-on approach to crafting the music for this film, which included an unusual addition to his typical job of composer.“To find the right language for this film from a first-person perspective… I was able to be one of the re-recording mixers on this film, being responsible to mix the final results of the film that now people will hear in the theater, alongside [re-recording mixer] Rob Mackenzie. I don't know a film that has been mixed by a composer… at least in the years that I've been working in the film industry. To be able to take this on with George [Miller] and with Rob Mackenzie was just an amazing eight-week experience, to really get into the complete details. It's like, ‘how do you want the music to sound? How is it going to be spaced in an incredible Dolby Atmos theater? And how are you using all the speakers? How much do you push the music? And how do you create perfect handoffs with the sound design, working in conjunction together?' It was such a fascinating experience.”—Tom Holkenborg, Composer and Re-recording Mixer, “Furiosa: A Mad Max Saga”Be sure to check out “Furiosa: A Mad Max Saga,” now playing in Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Five-time Emmy Award-winning composer Laura Karpman joins guest host Jon Burlingame to discuss her first Academy Award® nomination for the music of “American Fiction.” Karpman took a rather unique approach to composing this “jazzy” score, by thinking of the actors' voices as musical instruments themselves.“There's a lot of dialogue. And the way the score is constructed is using the actors — particularly Erika Alexander, who plays Coraline, his love interest, and then Jeffrey [Wright], who plays Monk — using their voices as musical instruments. Jeffrey has a great tenor sax vibe, and Coraline has got this sexy alto. And so when they speak, it's under a rhythm section. And then the saxophones and Elena Pinderhughes on flute will come in to kind of move around that. But I did think of the actors as part of the jazz combo, with a rhythm section backing them up.”—Laura Karpman, Composer, “American Fiction”Be sure to check out “American Fiction” ahead of the Academy Awards, live from the Dolby Theatre® on March 10th!For more awards season coverage, please subscribe to The Dolby Creator Talks Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Academy Award-nominated composer Daniel Pemberton (“The Trial of the Chicago 7”) joins our guest host, music journalist Jon Burlingame, to discuss his score for the latest animated Spider-Man film. If you've seen it, then you already know it features incredible, cutting-edge animation. But it turns out Daniel's approach to the score was equally “experimental.” “As soon as I finished ‘Into the Spider-Verse,' I was thinking about ‘Across [the Spider-Verse]' because… as a composer, you don't often get a chance to have a kind of playground where you really can be very experimental and really push at the edges of what film music can be. And obviously, you want to try and do that. But not every movie will support that kind of approach. And with Spider-Verse, it really did. So I was very aware — if there was a sequel — of trying to build on what we created on the first one. Rather than say, ‘well we did this thing that was successful, let's just more of the same.' It's more like, ‘let's see how much further we can push it.'”— Daniel Pemberton, Composer, “Spider-Man: Across the Spider-Verse”Be sure to check out “Spider-Man: Across the Spider-Verse,” in Dolby Vision® and Dolby Atmos®, now streaming on Netflix.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Director Blitz Bazawule joins his composer Kris Bowers to discuss their new adaptation of “The Color Purple.” You may remember the original filmed adaptation of Alice Walker's Pulitzer Prize-winning novel, directed by Steven Spielberg, from 1985. This version is actually an adaptation of the hit Broadway show, which won two Tony Awards, including Best Revival of a Musical. Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to speak with Kris and Blitz about their collaboration on the film, which began very early in the filmmaking process. “I brought Kris on very early because I really believe in my entire team being on the same page right when we begin. I don't believe in silos as a filmmaker and, ultimately, I fancy myself more of a conductor than anything else. I need my entire symphony to start building some kind of harmony, and I can't wait till the very ending to bring on my composer when so much has already been discussed. So bringing Kris on also helped [him] understand how we were approaching music from a macro perspective, what were the intentions around these choices that then he could then expand into the scoring process. And why Kris? I mean, he's the coolest cat. That's just it.”—Blitz Bazawule, Director, “The Color Purple” (2023)Be sure to check out The Color Purple now in theaters, in Dolby Vision® and Dolby Atmos®, where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Composer Jerskin Fendrix joins us to discuss his first-ever film score — the latest from director Yorgos Lanthimos — “Poor Things.” It was an exciting experimental collaboration for both artists, as this was also the director's first time working with an original score for one of his films.“We both learned along the way how to make a film score from scratch… The first thing we agreed on is that the music had to be part of the film, exclusively. No external references, no temp scores. We never discussed any other composers or films or anything at all. So I think Yorgos really had this idea that everything sprouts ex nihilo from the genesis of the film and from nowhere else.”—Jerskin Fendrix, Composer, “Poor Things”Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to discuss Jerskin's background, creative process, and what it was like to work with Lanthimos for the composer's feature film debut.Be sure to check out “Poor Things,” now in theaters.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

TVC 626.6: Jon Burlingame, author of Music for Prime Time, talks to Ed about the three eras of music for television, and how the role of music supervisors on a television series has become particularly important today, when many shows use pre-existing songs to convey the theme and mood of a series. Music for Prime Time: A History of American Television Themes and Scoring is available in bookstores everywhere through Oxford University Press and Amazon.com. Jon Burlingame is also the producer, along with Doug Schwartz, of The Quinn Martin Collection, a three-volume CD collection released by La La Land Records. Volume 1, released in 2019, features music composed by Jerry Goldsmith, John Parker, Dave Grusin, and Lalo Schifrin for Barnaby Jones, Cannon, Dan August, and Most Wanted, respectively; Volume 2, released in 2019, features music composed for The Invaders by Dominic Frontiere, Richard Markowitz, Sidney Cutner, Duane Tatro, and others; Volume 3, released in 2020, features music composed by Patrick Williams for several episodes of The Streets of San Francisco (including the pilot movie), plus Williams' score for “The Seduction Squad,” an episode of A Man Called Sloane. According to Jon, a fourth volume is scheduled for release in 2024. If you love the music of Quinn Martin's shows, all of these volumes are highly worth adding to your collection. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 626.5: Part 2 of a conversation that began last week with Jon Burlingame, nationally renowned music journalist and the author of Music for Prime Time: A History of American Television and Scoring that not tells the back story of every great TV theme music or TV theme song, but gives readers a portraits of the many great composers who made those themes so memorable, including John Williams, Benny Carter, Duane Tatro, Irving Szathmary, and Oliver Nelson. Topics this segment include why some of the most memorable and creative music for television was made in the period between the late 1960s and early 1970s. Music for Prime Time is available in bookstores everywhere through Oxford University Press and Amazon.com. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 625.6: Jon Burlingame, author of Music for Prime Time, talks to Ed about the television work of renowned composers Jerry Goldsmith (Barnaby Jones, Police Story, The Loner) and Patrick Williams (The Streets of San Francisco, The Mary Tyler Moore Show, The Bob Newhart Show, Lou Grant, The Magician). Topics this segment include why Goldsmith was reluctant to score the pilot for Barnaby Jones (and how his theme for Barnaby, ironically, ended up being one of his best known TV compositions) and why no one was better than Williams at composing a jazz score for television. Music for Prime Time: A History of American Television Themes and Scoring is available in bookstores everywhere through Oxford University Press and Amazon.com. Jon Burlingame is also the producer, along with Doug Schwartz, of The Quinn Martin Collection, a three-volume CD collection released by La La Land Records. Volume 1, released in 2019, features music composed by Jerry Goldsmith, John Parker, Dave Grusin, and Lalo Schifrin for Barnaby Jones, Cannon, Dan August, and Most Wanted, respectively; Volume 2, released in 2019, features music composed for The Invaders by Dominic Frontiere, Richard Markowitz, Sidney Cutner, Duane Tatro, and others; Volume 3, released in 2020, features music composed by Patrick Williams for several episodes of The Streets of San Francisco (including the pilot movie), plus Williams' score for “The Seduction Squad,” an episode of A Man Called Sloane. According to Jon, a fourth volume is scheduled for release in 2024. If you love the music of Quinn Martin's shows, all of these volumes are highly worth adding to your collection. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 625.5: Ed welcomes back Jon Burlingame, longtime music journalist and our nation's leading writer on the subject of music for films and television. Jon's latest book, Music for Prime Time: A History of American Television and Scoring, not only includes more than 450 interviews with composers, orchestrators, producers, editors, and musicians who are or who were active in the field of music for television, but tells the back story of every great TV theme music or TV theme song while also examining the many neglected and frequently underrated orchestral and jazz compositions for television that date back to the late 1940s. Topics this segment include why the craft of music composed for television is another form of storytelling; some of the notable names in music who also left their mark in television (including band leaders Count Basie and Duke Ellington and jazz artists Dave Grusin and Dave Brubeck); and the back story of how Earle Hagen composed the famous theme to The Andy Griffith Show. Music for Prime Time is available in bookstores everywhere through Oxford University Press and Amazon.com. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Legendary composer John Williams talks with host Jon Burlingame about his latest film score for Disney's Indiana Jones  and the Dial of Destiny. The two discuss an amusing story shared by Harrison Ford about the oddest place he ever heard Williams' iconic march, to the particulars of writing music for Phoebe Waller-Bridge's mysterious character, Helena. Williams also reveals how he has successfully collaborated with some of the foremost filmmakers of the last two centuries to create many of the most recognized film scores of all time— with no signs of slowing down after nearly seven decades in the studio. 

“A Haunting in Venice,” the latest cinematic adaptation featuring novelist Agatha Christie's fictional detective Hercule Poirot, starring and directed by Sir Kenneth Branagh, includes another unforgettable score by multiple award-winning composer Hildur Guðnadóttir. But unlike most of her other groundbreaking work, this score features a more “classical” approach — a creative decision stemming all the way back to Hildur's childhood!“Having grown up reading Agatha Christie and Nancy Drew and Sherlock Holmes and all these classics, I had a really strong feeling for how I felt like this genre should be approached. And how I felt like it should not be approached. And [its] quite the opposite to most of my work, where I'm quite explorative of sounds and instrumentation and building instruments or building sample worlds or found sounds. I feel like the whodunit should really just be a classical form (laughs) that should not be tampered with.”—Hildur Guðnadóttir, Composer, “A Haunting in Venice”Our guest host, music journalist Jon Burlingame, returns to the Dolby Institute Podcast to speak with Hildur about her work on this film as well as her vast knowledge of music history from this period.Be sure to check out A Haunting in Venice, now in theaters, in Dolby Atmos® where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Scottish composer Lorne Balfe joins us to discuss his incredible original score for the latest addition of the Mission: Impossible franchise. Guest host Jon Burlingame returns to delve into Lorne's process — including some on-the-fly performances during his interview — and why he so badly wanted to record elements of the soundtrack in so many locations from around the world.“You sometimes have these choirs [that] have to sing in different languages. And of course they can do it. But it's just not natural to them. So that was one idea that I had: Wouldn't it be amazing to have the musicians from that city or from that town be part of this soundtrack? The same way that the crew, and the extras, and the actors are from that environment? Let's try to incorporate that world into our world.”—Lorne Balfe, Composer, “Mission: Impossible - Dead Reckoning Part One”Be sure to check out the latest Mission: Impossible at a Dolby Cinema®, so you can enjoy the film in Dolby Vision® and Balfe's score in stunning Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Academy Award-winning composer Ludwig Göransson returns to the Dolby Institute Podcast to discuss his latest collaboration with auteur filmmaker Christopher Nolan, with guest host Jon Burlingame. They discuss the composer's process which, on this film, was anything but traditional, including why he composed over three hours of music before principal photography even began.“But then the real job begins when [Christopher Nolan] comes back and he goes into the edit bay and he sits there with [picture editor] Jennifer Lame and they start putting together the movie. And they put together the scenes. And they already put my music in those scenes, from what we'd already written. So when I see the first cut it already has all my music in it.”—Ludwig Göransson, Composer, “Oppenheimer” Be sure to check out Oppenheimer at a Dolby Cinema® so you can enjoy the film and Göransson's score in stunning Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Filmmaker David Strohmaier, Cinerama's John Sittig, music expert Jon Burlingame, stuntman Loren James and movie expert Rudy Behlmer

Award-winning author Jon Burlingame joins the podcast for an entertaining review of the best in TV music, as told in his new book, "MUSIC FOR PRIME TIME."   Jon recounts wonderful stories of the earliest TV series and how their theme songs and scores were developed.  Some of the classic shows we revisit are Peter Gunn, Rawhide, The Man From Uncle, The Twilight Zone, I Love Lucy, The Flintstones, Roots, and  The Avengers.  We also discuss composers Max Steiner, Bernard Herrmann, John Williams,  Jerry Goldsmith, Quincy Jones, and Billy Goldenberg's early work with Stephen Spielberg.  Jon also tells us the story of how "Friends" may have saved the TV Theme song.  And we share our admiration for current composers who are keeping TV music as popular as ever with their scores for HBO'S GAME OF THRONES & WESTWORLD, Disney's THE MANDALORIAN, and the Netflix hit STRANGER THINGS.  This is an entertaining and informative look back at the history of TV music that ends with a positive look at the bright future ahead.Jon Burlingame is the nation's foremost writer on music for TV and Film.  MUSIC FOR PRIME TIME is Jon's newest book, and it provides the most comprehensive review of TV music ever written.  Purchase MUSIC FOR PRIMETIME on AmazonPurchase The Music of James Bond on AmazonLink to Jon Burlingame's WEBSITELink to COMPOSER BILLY GOLDENBERG Podcast with Gary GeraniLink to Composer MAX STEINER podcast with Steven Smith The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Everyone can sing the themes to Gilligan's Island, The Brady Bunch, and Friends. Jon Burlingame is rich with knowledge about those themes and many others (My Mother the Car, anyone?). He shares that knowledge here on the Innertube and in his book, Music for Prime Time.

Music composed for television had, until recently, never been taken seriously by scholars or critics. Catchy TV themes, often for popular weekly series, were fondly remembered but not considered much more culturally significant than commercial jingles. Yet noted composers like John Williams, Henry Mancini, Jerry Goldsmith and Lalo Schifrin learned and/or honed their craft in television before going on to major success in feature films.Oscar-winning film composers like Bernard Herrmann, Franz Waxman and Maurice Jarre wrote hours of music for television projects, and such high-profile jazz figures as Duke Ellington, Dave Brubeck and Quincy Jones also contributed music to TV series. Concert-hall luminaries from Aaron Copland to Leonard Bernstein, and theater writers from Jerome Moross to Richard Rodgers, penned memorable scores for TV.Music for Prime Time is the first serious, journalistic history of music for American television. It is the product of 35 years of research and more than 450 interviews with composers, orchestrators, producers, editors and musicians active in the field. Based on, but vastly expanded and revised from, an earlier book by the same author, this wide-ranging narrative not only tells the backstory of every great TV theme but also examines the many neglected and frequently underrated orchestral and jazz compositions for television dating back to the late 1940s.Covering every series genre (crime, comedy, drama, westerns, action-adventure, fantasy and sci-fi), it also looks at music for animated series, news and documentary programming, TV-movies and miniseries, and how music for television has evolved in the era of cable and streaming options. It is the most comprehensive history of television scoring ever published.Jon Burlingame is one of the nation's leading writers on the subject of music for films and television. He writes regularly for Variety and has also written for The New York Times, Los Angeles Times, Washington Post, The Hollywood Reporter and Premiere magazine. He teaches film-music history at the University of Southern California, hosts the "For Scores" podcast, and is the author of five books including the best-selling and Deems Taylor Award-winning The Music of James Bond.Buy the book from Wellington Square Bookshop - ​https://wellingtonsquarebooks.indiecommerce.com/book/9780190618308

Michigan Radio's Rick Pluta about the politics that led to Gov. Gretchen Whitmer's signing Wednesday of a bill to repeal a 1931 abortion ban in Michigan, which went into effect after the Supreme Court overturned Roe v. Wade last June. And, resident chef Kathy Gunst shares three new recipes for Passover, Easter, or other spring celebrations. Then, film scoring professor Jon Burlingame looks at some classic TV themes and talks about his new book, "Music for Prime Time: A History of American Television Themes and Scoring."

Today's guests: Jon Burlingame, Author-"Music for Prime Time: A History of American Television Themes and Scoring" / Teaches film scoring at the University of Southern California Ashley Reynolds, study lead author / PhD Candidate at the University of Toronto and Royal Ontario Museum Philip Cross, former chief economic analyst - Statistics Canada / senior fellow - Fraser Institute Learn more about your ad choices. Visit megaphone.fm/adchoices

The Environmental Protection Agency has given approval for contaminated waste to continue to be shipped out of East Palestine, Ohio. Professor Timothy Townsend explains what is likely to happen to the waste. And, if a Texas federal judge rules to temporarily ban mifepristone from the market, women nationwide could lose access to medication abortions. Texas Tribune women's health reporter Eleanor Klibanoff shares the latest on the case. Then, we take our annual listen to the nominees for the Best Original Song at the Oscars with Variety writer and film music professor Jon Burlingame.

Legendary Oscar-winning composer and songwriter Alan Menken joins host Jon Burlingame to discuss his songs for Disney's Disenchanted, the long-awaited sequel to Enchanted. Alan reflects on his enduring partnership with Disney, how he created the ‘magical' sound so many associate with animated classics, and why he's enjoying revisiting and reinventing that magic in this new film. 

“Award winning composer Natalie Holt joins host Jon Burlingame to describe her process of creating the otherworldly soundscapes of both Loki and Obi-Wan Kenobi. They discuss her unique approach to composing for heritage characters, working with her idol John Williams, and her passion for equity in the film music world."

This Shark Week, marine conservation scientist David Shiffman hopes people will reconsider how the animals are portrayed in media. Film music historian Jon Burlingame also joins us to talk about why the score to the 1975 film "Jaws" is so effective at scaring us. And, at the Washboard Donut Shoppe in Tupper Lake, New York, you can snack on freshly made donuts while you do your laundry and buy souvenirs. Emily Russell of NCPR reports.

Ukrainian President Volodymyr Zelenskyy repeated his call for a no-fly zone in an address to Congress. We speak with former military officer Mike Benitez, founder of the Merge, a defense newsletter. And, we take our annual look at the nominees for the Best Original Song Oscar with Jon Burlingame, who writes for Variety and teaches screen scoring at the University of Southern California Thornton School of Music.

If you love learning of behind the scenes info on how films scores come about, this book is for you. An amazing collection of essays on how numerous scores, written by John Barry, came to be. Authors Pete Walker, Geoff Leonard and Jon Burlingame have assembled THE definitive collection of fascinating stories behind the scores written by the maestro. To help share some of the anecdotes form the book are two "superfans" of Barry's, Stephen Woolston and Tony Weeks. They are extremely qualified to discuss this book and the career of Barry. Plus, we have terrific cues to share as well. This is part 2 of a long discussion you're sure to enjoy!

If you love learning of behind the scenes info on how films scores come about, this book is for you. An amazing collection of essays on how numerous scores, written by John Barry, came to be. Authors Pete Walker, Geoff Leonard and Jon Burlingame have assembled THE definitive collection of fascinating stories behind the scores written by the maestro. To help share some of the anecdotes form the book are two "superfans" of Barry's, Stephen Woolston and Tony Weeks. They are extremely qualified to discuss this book and the career of Barry. Plus, we have terrific cues to share as well. This is part 1 of a long discussion you're sure to enjoy!

Grammy® nominated music producer and supervisor Matt Sullivan sits down with host Jon Burlingame to discuss his role as executive music producer on Steven Spielberg's newest film, “West Side Story.” Sullivan explains how he worked with legends like John Williams and Stephen Sondheim to coordinate music's unique role in the rehearsal and filming process, and how he felt seeing his work translated to the screen.

Happy Thanksgiving! Today on the show, we're re-airing highlights from our summer series "Iconic at 50" and looking at, or rather listening to, some iconic albums that turned 50 this year and digging into the political and social context in which they were made and their impact on both music and culture, including: Sean Ono Lennon, musician and son of John Lennon and Yoko Ono, discusses how John Lennon's 1971 song "Imagine" was shaped by its time and has influenced music for generations to come. Andy Beta, music writer whose byline has appeared in The New York Times, Rolling Stone, The Wall Street Journal, Washington Post, NPR and more, discusses how Alice Coltrane's 1971 album "Journey in Satchidananda" was shaped by its time and has influenced music for generations to come. Loren Glass, chair and professor of English at the University of Iowa and author of several books including, most recently, Carole King's Tapestry for Bloomsbury's 33 1/3 series, discusses how Carole King's 1971 album "Tapestry" was shaped by its time and has influenced music for generations to come. Henry Rollins, host at KCRW and former lead vocalist of the hardcore group Black Flag, discusses how Black Sabbath's 1971 album "Master of Reality" was shaped by its time and has influenced music for generations to come. Jon Burlingame, music journalist who writes regularly for Variety, music-and-TV theme expert and host of "For Scores" podcast, discusses how Isaac Hayes's 1971 album "Shaft" was shaped by its time and has influenced music, and culture, for generations to come. Aaron Cohen, author of Move On Up: Chicago Soul Music and Black Cultural Power (University of Chicago Press, 2019) and professor at City Colleges of Chicago, discusses how George Harrison's concert and album "The Concert For Bangladesh" was shaped by its time and has influenced music for generations to come.   These interviews were edited slightly for time, the original versions are available here: Iconic at 50: John Lennon's 'Imagine' (Oct 21, 2021) Iconic at 50: Alice Coltrane's 'Journey in Satchidananda' (Jul 23, 2021) Iconic at 50: Carole King's 'Tapestry' (Aug 6, 2021) Iconic at 50: Black Sabbath's 'Master of Reality' (Jul 16, 2021) Iconic at 50: Isaac Hayes's 'Shaft' (Jul 29, 2021) Iconic at 50: George Harrison's 'The Concert For Bangladesh' (Sep 3, 2021)

Iron Man and Game of Thrones composer Ramin Djawadi joins host Jon Burlingame to talk about his most recent partnership with Marvel Studios on Eternals. Djawadi reveals what it was like to work with Academy Award® winning director Chloe Zhao to create the timeless backdrop for a narrative that spans centuries and cultures. He also explains how a lucky coincidence changed the course of his career when he was offered the opportunity to work under Hans Zimmer. 

In the second episode of a two part series, legendary eight-time Oscar-winning composer and songwriter Alan Menken continues his conversation with host Jon Burlingame. Together, they discuss Alan's transition to new writing partners after Howard Ashman's early death with films like Aladdin and Tangled, Disney's Broadway takeover, and other favorite projects such as The Hunchback of Notre Dame. Alan looks back on his impressive Disney legacy and reveals information about upcoming new classics including Disenchanted, and the live action The Little Mermaid.

You have almost certainly heard Nicholas Britell's music, even if you don't know his name. More than any other contemporary composer, he appears to have the whole of music history at his command, shifting easily between vocabularies, often in the same film.His most arresting scores tend to fuse both ends of his musical education. “Succession” is 18th-century court music married to heart-pounding beats; “Moonlight” chops and screws a classical piano-and-violin duet as if it's a Three 6 Mafia track.Britell's C.V. reads like the setup for a comedy flick: a Harvard-educated, world-class pianist who studied psychology and once played in a moderately successful hip-hop band, who wound up managing portfolios on Wall Street.That is until he started scoring movies, and quickly acquired Academy Award nominations.“What I've found in the past,” said Jon Burlingame, a film-music historian, “is that people have found it impossible to incorporate such modern musical forms as hip-hop into dramatic underscore for films. When Nick did it in ‘Moonlight,' I was frankly stunned. I didn't think it was possible.”This story was written by Jamie Fisher and recorded by Audm. To hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.

In the first episode of a two part series, legendary eight-time Oscar winning composer and songwriter Alan Menken sits down with host Jon Burlingame to discuss his career. Alan takes the audience back to his beginnings as a musician in a family of dentists, his love of Fantasia, and his life-changing writing partnership with Howard Ashman; which would skyrocket them both to Off-Broadway success with Little Shop of Horrors, and eventually to Disney royalty with The Little Mermaid, Beauty and the Beast, and Aladdin. 

Jon Burlingame, music journalist who writes regularly for Variety, music-and-tv theme expert and host of "For Scores" podcast, discusses how Isaac Hayes's 1971 album "Shaft" was shaped by its time and has influenced music, and culture, for generations to come.

Emmy winning composer Nicholas Britell sits down with host Jon Burlingame to discuss his process combining orchestra and classic rock in the score for Disney's Cruella. Britell talks about his musical history and how his philosophy of constant learning helped him navigate an ambitious project in the midst of the pandemic. 

Composer Raphaelle Thibaut tells host Jon Burlingame how she used home-recorded music to illustrate the majesty and complex emotional lives of whales in Disney+ and National Geographic’s new four part series, SECRETS OF THE WHALES. Raphaelle also talks about how her unique childhood experiences, such as partial deafness and exposure to French cinema led her back to film composition as an adult. 

Scientists thought that a key ingredient for life must have come to early Earth from meteorites. But as NPR's Nell Greenfieldboyce reports, a new study suggests a surprising alternative source: lightning strikes. And, we take our annual look at the nominees for the Oscar's Best Original Song with Variety film music writer Jon Burlingame.

Filmmuziek van Bernard Herrmann, in de bonus Noa Johannes over zijn debuutfilm Citizen Kane (1941). En de invloed die Herrmann nog steeds heeft op filmmuziek van tegenwoordig. Bernard Herrmann werd geboren in 1911 in New York, en overleed in Hollywood in 1975, op zijn 64e, aan hartfalen. Hij maakte in de jaren '30 van de vorige eeuw muziek voor verschillende hoorspelen, zoals het roemruchte War of the Worlds uit 1938, van Orson Welles. En toen Orson Welles een paar jaar later een film ging maken, vroeg hij Bernard Herrmann dan ook om daar de muziek bij te schrijven. Dat werd de film die nog steeds gezien wordt als misschien wel de beste film aller tijden: Citizen Kane. Met Alfred Hitchcock werkte hij samen tussen 1955 en 1966, voor films als Vertigo, North By Northwest, Marnie, Psycho en ook voor The Birds - wat gek genoeg en film is waar helemaal geen muziek in zit, maar waarvoor Bernard Herrmann wel de sounddesign deed, in de vorm van elektronisch gecomponeerde vogelgeluiden. Misschien is Herrmann wel het bekendst geworden door de muziek voor de griezelige film Psycho, met die moorddadige douchescene. Voor die film gebruikte Herrmann uitsluitend strijkinstrumenten, wat toendertijd nogal ongebruikelijk was, want griezelige effecten bereikte je met pauken of met donkere houtblaasinstrumenten. In later jaren maakte Herrmann nog muziek voor onder meer François Truffaut, voor Fahrenheit 451) (daar hoorde je daarnet een stukje uit), voor Brian de Palma (Obsession) en voor Martin Scorsese, Taxi Driver, in 1974, en dat was ook de allerlaatste film waarvoor Bernard Herrmann de muziek componeerde - hij overleed enkele uren na het voltooien van de opnames. Je kunt het belang van de muziek van Bernard Herrmann voor de filmmuziek eigenlijk nauwelijks overschatten. Volgens professor Jon Burlingame, die filmmuziekgeschiedenis doceert in de VS, heeft de muziek van Bernard Herrmann een plekje gekregen in ons collectief geheugen. Luister maar eens naar Jerry Goldsmith, of Danny Elfman. Of check de 'Bernard Herrmann geluidenbibliotheek' van Spitfire Audio, een bedrijf dat software levert voor het schrijven van filmmuziek... North by Northwest - Ouverture Vertigo - Scotty tails Madeleine Marnie - Prelude Psycho - Prelude + The Murder The Day the Earth stood still - Klaatu Fahrenheit 451 - Prelude Taxi Driver - Sax and Violence Citizen Kane - diverse fragmenten

Two of the world’s foremost authorities on movie music—whom we also count as good friends—join in a buoyant conversation filled with insight and laughter. Jon Burlingame writes for Variety and teaches film scoring at USC; his books include The Music of James Bond. Steven Smith’s latest book is Music by Max Steiner: The Epic Life of Hollywood’s Most Influential Composer. Together they represent an unbeatable storehouse of knowledge which they are eager to share with all of us.  

Composer Gordy Haab joins host Jon Burlingame to reveal how he landed his dream job composing music for the Star Wars video games, including the most recent game Star Wars: Squadrons. They also talk about the surprising place where Gordy got the chance opportunity to meet legendary Star Wars composer John Williams. 

Composer Tyler Bates joins host Jon Burlingame and reveals how growing up in a haunted house influenced his musical career. They also discuss the unique approach he took to score the Guardians of the Galaxy films, and why director James Gunn wanted the actors and crew to listen to the score as they filmed.

Composer Mark Isham and musician Isabella Summers talk with host Jon Burlingame about their recent collaboration for Hulu's timely dramatic series, Little Fires Everywhere. They reveal how they created musical identities, like betrayal and invasion of privacy, specific to the fraught mother and daughter relationships central to the story. Jon also speaks with Mark about his work on the Disney+ original film, Togo - and the personal reason he was drawn to the epic tale.

In this episode, Host Jon Burlingame talks with Emmy Award-winning composer Kris Bowers about his work on Mrs. America, the FX series exclusively on Hulu. Bowers reveals the creative ways that he and his team finished recording music during the quarantine in Los Angeles, as well as what initially drew him to the project. They also talk about how he often fuses hip hop and orchestral sounds, looking for the similarities between them, to help him creatively.

In this second episode of host Jon Burlingame's two-part interview with Henry Jackman, the composer talks about his work on Captain America: WInter Soldier and Captain America: Civil War and reveals the helpful lesson he learned about film composing from a math course. They also delve into how composing for live action films differs from animated ones, like Big Hero 6.

This week, we're joined by Jon Burlingame, author of 007 music bible The Music Of Bond. Having written for Variety, The Hollywood Reporter, The New York Times, Los Angeles Times, The Washington Post, and many more, Jon is the one of the leading voices when it comes to writing about music for film and television. Jon has been at the top of our interview hitlist for a long time, and this week we finally made it happen. So, grab yourself a Vesper, put your feet up, and enjoy, The Music of Bond, with Jon Burlingame.

In this episode, Host Jon Burlingame sits down with composer Joseph Trapanese to talk about his work on the live-action Lady and the Tramp, first Disney project Tron Legacy and his collaborations with Daft Punk, Dr. Dre and M83.

Host Jon Burlingame talks about THE CALL OF THE WILD and SOLO: A STAR WARS STORY with Oscar-nominated composer John Powell, who reveals exclusive details about his process and the privilege of working with the legendary John Williams.

Composer and songwriter Randy Newman sits down with host Jon Burlingame to talk about Randy's long history with Disney and Pixar films, including his work on all four Toy Story movies, Monsters, Inc. and A Bug's Life. He also reveals why he loves using orchestras in his scoring and how the musical legends in his family influenced his life's work.

In this nostalgic episode of FOR SCORES, Oscar-nominated composer John Debney reveals to host Jon Burlingame how meeting Walt Disney and the Sherman brothers during his childhood influenced his life's work on films including The Princess Diaries and The Jungle Book.

In this episode, Host Jon Burlingame talks with prolific and versatile composer Christophe Beck, whose film scoring can be heard in more than one hundred films including Ant-Man, Ant-Man and the Wasp, Frozen and most recently, Frozen 2. Beck reveals lessons he learned early in his career and his musical strategy for dealing with humorous scenes and characters in films.

Oscar-winning songwriters Kristen Anderson-Lopez and Robert Lopez sit down with Host Jon Burlingame to talk about their work on Frozen and Frozen 2. They delve into the special moments and personal stories that influenced their songs, as well as reveal their creative process with an exclusive and impromptu singing session live on piano.

Composers Marco Beltrami and Buck Sanders talk with host Jon Burlingame about their most recent film Ford v Ferrari and their two decade partnership in film and TV scoring. They also reveal to Jon a few funny stories about their early days.

Composer Geoff Zanelli talks with host Jon Burlingame about his college internship in Hans Zimmer 's studio and how that jumpstarted his career working on all of the Pirates of the Caribbean films, The Odd Life of Timothy Green and, most recently, Maleficent: Mistress of Evil.Geoff also reveals how his father's deafness greatly influenced his appreciation of music.

Host Jon Burlingame talks about Coco with composer Germaine Franco, who co-wrote several of the film's songs, and Tom MacDougall, the Executive Producer of the film's soundtrack. They reveal how they achieved the authentic sonic landscape of Mexico by recording there with local musicians and indigenous instruments, as well as weaving in musical styles like mariachi bands, banda and jarocho.

Composer Pinar Toprak speaks with host Jon Burlingame about her amazing journey from studying violin at a conservatory in her homeland of Turkey, to becoming the first woman to score a film in the Marvel cinematic universe. She shares stories about the soundtrack that most influenced her career, her work scoring popular video games and the panic attack that helped her come up with the theme for Marvel Studios' Captain Marvel.

In this first of two episodes with composer Henry Jackman, he tells host Jon Burlingame how he rebelled against the classical music and choir singing of his childhood in England with drums and pop music. He also reveals how a surprise call from the legendary Hans Zimmer lead to his career in film scoring, as well as the secret homage he made to John Williams' iconic music from Star Wars in Ralph Breaks the Internet.

Composer Harry Gregson-Williams tells host Jon Burlingame how he helped make penguins seem even more charming and funny in Disneynature's documentary, Penguins. They go on to discuss why Harry actually enjoys the stress of conducting his own scores and how his own children are both his best audience and critics. Harry also gives a sneak peek into the music for the upcoming live-action Mulan film.

Composer Alan Silvestri talks with host Jon Burlingame about his work on four Marvel Studios films including Avengers: Endgame. Alan also reveals the emotional process he goes through, how it has shaped his work in the film industry over the decades and how despite the wide range of movies he's worked on -- that it's all still a terrifying mystery to him.

In For Scores, host Jon Burlingame takes listeners on a magical journey into the world of film and television composers, revealing never-before-heard special moments behind many of today's most beloved scores. This season, you'll hear personal stories from the composers of Marvel Studios Avengers and Pixar's Toy Story films, Captain Marvel, Coco, Ralph Breaks the Internet, and so much more!

In this exclusive video Veteran music writer Jon Burlingame chats with Oscar nominated Composer Nicholas Britell about his recent work on, “If Beale Street Could Talk” and the organic process of collaborating with the director Barry Jenkins on the film’s lush and evocative score. In early 1970s Harlem, daughter and wife-to-be Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny. Friends since childhood, the devoted couple dream of a future together, but their plans are derailed when Fonny is arrested for a crime he did not commit.

SAG/AFTRA presents another special "Meet The Composer" event. For this event composer John Powell was featured, who has utilized SAG/AFTRA choir members and singers in many of his scores. Before his master class, film music journalist Jon Burlingame sat down with John Powell for this fantastic interview. Watch the master class: https://www.youtube.com/watch?v=SqGLRQqChGc filmmusicmedia.comsagaftra.org

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer John Ottman about his recent work on the Marvel film, X-Men Apocalypse. Since the dawn of civilization, he was worshiped as a god. Apocalypse, the first and most powerful mutant from Marvel’s X-Men universe, amassed the powers of many other mutants, becoming immortal and invincible. Upon awakening after thousands of years, he is disillusioned with the world as he finds it and recruits a team of powerful mutants, including a disheartened Magneto (Michael Fassbender), to cleanse mankind and create a new world order, over which he will reign. As the fate of the Earth hangs in the balance, Raven (Jennifer Lawrence) with the help of Professor X (James McAvoy) must lead a team of young X-Men to stop their greatest nemesis and save mankind from complete destruction.

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer henry Jackman about his recent work on the Marvel film, Captain America: Civil War. Political pressure mounts to install a system of accountability when the actions of the Avengers lead to collateral damage. The new status quo deeply divides members of the team. Captain America (Chris Evans) believes superheroes should remain free to defend humanity without government interference. Iron Man (Robert Downey Jr.) sharply disagrees and supports oversight. As the debate escalates into an all-out feud, Black Widow (Scarlett Johansson) and Hawkeye (Jeremy Renner) must pick a side.

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composers Mychael and Jeff Danna about their recent work on the Pixar film The Good Dinosaur. In this enchanting computer-animated fantasy set in a world where dinosaurs never became extinct, an amiable young Apatosaurus named Arlo (voiced by Raymond Ochoa) befriends a prehistoric human child (voiced by Jack Bright) while he attempts to reunite with his dinosaur family. Arlo lost his father in a storm and was swept away by a vicious river current, stranding him in a frightening new place, making him desperate to get back home. Peter Sohn directs this heartwarming Pixar adventure, with Jeffrey Wright, Frances McDormand, Anna Paquin and Sam Elliott also contributing voice work.

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer Carter Burwell about his work on the film: Carol, Mr. Holmes, Anomalisa, Legend and Hail, Caesar! Carter Burwell has composed the music for more than 80 feature films, including Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Velvet Goldmine, The General’s Daughter, Three Kings, Being John Malkovich, O Brother, Where Art Thou? (BAFTA Nominee for Film Music), Before Night Falls, A Knight’s Tale, The Rookie, Adaptation, Intolerable Cruelty, The Ladykillers, No Country for Old Men, In Bruges, Burn After Reading, Twilight, Where the Wild Things Are (Golden Globe Nominee for Best Original Score), A Serious Man, The Blind Side, The Kids Are All Right, True Grit, Twilight: Breaking Dawn – Part 1 & 2, and The Fifth Estate. Burwell most recently wrote the music for the mystery drama MR. HOLMES starring Ian McKellen directed by Bill Condon, the true crime thriller Legend directed by Brian Helgeland opening October 2. Carol marks Burwell’s third collaboration with Todd Haynes having previously worked together on VELVET GOLDMINE and HBO’s mini-series MILDRED PIERCE starring Kate Winslet in which Burwell was nominated for two Emmy Awards, winning for his work in the category of Outstanding Music Composition for a Miniseries, Movie or Special (Original Dramatic Score). Other upcoming film projects for Burwell include Charlie Kaufman’s first-stop motion film Anomalisa, the ocean thriller The Finest Hours starring Chris Pine and Casey Affleck directed by Craig Gillespie, the Nicole Kidman-Jason Bateman drama The Family Fang, and Hail, Caesar! written and directed by Ethan and Joel Coen. His theater work includes the chamber opera The Celestial Alphabet Event and the Mabou Mines productions Mother and Lucia’s Chapters of Coming Forth by Day. In 2005 he developed a concert work for text and music titled Theater of the New Ear, presented in New York, London and Los Angeles. The text, by Joel and Ethan Coen and Charlie Kaufman, was performed by a dozen actors including Meryl Streep, Steve Buscemi, Philip Seymour Hoffman, Hope Davis, Peter Dinklage, and Jennifer Jason Leigh. The music was performed by the 8-member Parabola Ensemble, conducted by Mr. Burwell. Burwell’s dance compositions include the pieces The Return of Lot's Wife, choreographed by Sara Pearson and Patrik Widrig, and RABL, choreographed by Patrice Regnier. He has performed around the world with his own ensembles as well as others, such as The Harmonic Choir. His writing includes the essay "Music at Six: Scoring the News Then and Now," published in the inaugural issue of Esopus magazine in 2003 and reprinted in Harper's Magazine in 2004, and the essay “No Country For Old Music” in the 2013 Oxford Handbook of New Audiovisual Aesthetics. Burwell has taught and lectured at The Sundance Institute, New York University, Columbia University, and Harvard University.

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer Tom Holkenborg (Junkie XL) about his work on the film Black Mass. Three-time Oscar nominee Johnny Depp (“Sweeney Todd: The Demon Barber of Fleet Street,” “Finding Neverland,” the “Pirates of the Caribbean” films) stars as notorious mobster James “Whitey” Bulger in the drama “Black Mass,” directed by Scott Cooper (“Crazy Heart”). The film also stars Joel Edgerton (“The Great Gatsby,” “Zero Dark Thirty”) as FBI Agent John Connolly; Oscar nominee Benedict Cumberbatch (“The Imitation Game”) as Whitey’s brother, powerful State Senator Billy Bulger; Rory Cochrane (“Argo”) as Steve Flemmi, Whitey’s closest partner in crime; Jesse Plemons (TV’s “Fargo”) as Whitey’s main henchman, Kevin Weeks; and Kevin Bacon (“Crazy, Stupid, Love.” TV’s “The Following”) as FBI Special Agent in Charge Charles McGuire. In 1970s South Boston, FBI Agent John Connolly (Edgerton) persuades Irish mobster Jimmy Bulger (Depp) to collaborate with the FBI in order to eliminate their common enemy: the Italian mob. The drama tells the story of this unholy alliance, which spiraled out of control, allowing Whitey to evade law enforcement while consolidating his power and becoming one of the most ruthless and dangerous gangsters in Boston history.

Cinematic Sound Radio turns 17 this month so as I do every year (except last year) I make a valiant attempt at coming up with a topic or theme that I have never before explored on the show. This year I’m going to play for you some of my favourite end credit cues. These are by no means the definitive best of the best but I think this show features a fine selection of end credit cues from the most iconic to the more obscure. So, on this special three hour program you will hear music Alan Silvestri, James Horner, John Debney, John Williams, Joel McNeely, David Shire, David Arnold, Mark Snow and many others. Special thanks to David Coscina who composed the NEW Cinematic Sound Radio’s fanfare. We have retired the 20th Century Fox fanfare and will now be opening up all programs with Coscina’s new theme. And a big special thanks goes out to film music journalist and historian Jon Burlingame for his invaluable assistance on this show.

Cinematic Sound Radio turns 17 this month so as I do every year (except last year) I make a valiant attempt at coming up with a topic or theme that I have never before explored on the show. This year I’m going to play for you some of my favourite end credit cues. These are by no means the definitive best of the best but I think this show features a fine selection of end credit cues from the most iconic to the more obscure. So, on this special three hour program you will hear music Alan Silvestri, James Horner, John Debney, John Williams, Joel McNeely, David Shire, David Arnold, Mark Snow and many others. Special thanks to David Coscina who composed the NEW Cinematic Sound Radio’s fanfare. We have retired the 20th Century Fox fanfare and will now be opening up all programs with Coscina’s new theme. And a big special thanks goes out to film music journalist and historian Jon Burlingame for his invaluable assistance on this show.

Cinematic Sound Radio turns 17 this month so as I do every year (except last year) I make a valiant attempt at coming up with a topic or theme that I have never before explored on the show. This year I’m going to play for you some of my favourite end credit cues. These are by no means the definitive best of the best but I think this show features a fine selection of end credit cues from the most iconic to the more obscure. So, on this special three hour program you will hear music Alan Silvestri, James Horner, John Debney, John Williams, Joel McNeely, David Shire, David Arnold, Mark Snow and many others. Special thanks to David Coscina who composed the NEW Cinematic Sound Radio’s fanfare. We have retired the 20th Century Fox fanfare and will now be opening up all programs with Coscina’s new theme. And a big special thanks goes out to film music journalist and historian Jon Burlingame for his invaluable assistance on this show.