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https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

Timothy Williams is a multi-award-winning composer who has written music for some of the most iconic movie scenes in history, including the sunken place in Get Out!, the barn door opening in Pearl and the death of Leonidas in 300. Tim has had a passion for film scores since he was a child. He fell in love with bringing stories to life with music always looking to find the perfect marriage of music for the story and visuals. Timothy began as a classical concert pianist, but quickly found himself spending more time playing in bands and composing music than practicing. A move to LA in the early 2000s started this 20 year journey of having the opportunities to create music for some of the most iconic movies.  Early work included writing additional music, orchestrating and conducting films like 300, Watchmen, Super, Sucker Punch, Guardians of the Galaxy Vol. 1 and Vol. 2, (Fast and Furious presents) Hobbs and Shaw, Deadpool 2 and Get Out! This breath of work lead to working as a composer with Robert Duvall on Wild Horses, John Moore on I.T., starring Pierce Brosnan, James Gunn and Dave Yarovesky on Brightburn, Tom Hanks on the documentary Beyond All Boundaries, Mario Van Peebles on Red Sky and Marc Meyers on We Summon The Darkness. Tim recently co-scored the iconic Ti West's A24 film Pearl which won numerous international awards as best horror score.  Upcoming releases include Mary for Netflix, directed by D. J. Caruso, starring Anthony Hopkins, Locked, starring Bill Skarsgård and Anthony Hopkins, produced by Sam Raimi and directed by Dave Yarovesky, and Eye for An Eye for Leyline Entertainment (Everything Everywhere All At Once), starring Golda Rosheuvel (Bridgerton) and directed by Colin Tilley. Other recent work includes Your Monster, the Sundance Audience Award Winner, directed by Caroline Lindy and starring Melissa Barrera, Lionsgate's The Bagman, starring Sam Claflin, Lionsgate/Roadside Attractions' Finding You and Mistura for Seine Pictures, directed by Ricardo De Montreuil, which recently won best picture at The NBFF. Television work includes Netflix/Sony Animation's Agent Elvis, AMC/Shudder's Creepshow, Disney's Piney, the Fox pilot Richard Lovely, and additional music on CBS' Tracker, Fox's The Exorcist (S2), ABC's Missing and Cartoon Network's Sym Bionic Titan.  Tim's music has been released on multiple soundtracks from Milan Records, Lakeshore Records, Sony Records, A24, EMI, Lionsgate Records and MovieScoreMedia.  Tim holds British, Canadian and US Citizenship and is represented by Dan North at First Artists Management. --- Support this podcast: https://podcasters.spotify.com/pod/show/steven-cuoco/support

Composer John Powell has been composing film scores since 1997; whether it's How to Train Your Dragon, The Bourne Identity, or Solo: A Star Wars Story, you've likely heard and loved at least one of his scores. He earned an Academy Award nomination in 2010 for the epic, uplifting sweep of How to Train Your Dragon, and has three Grammy nominations for his scores to Happy Feet, Ferdinand, and Solo.   But now, the veteran composer has an Emmy nomination under his belt, for a decidedly different project than he's used to: Documentary. For Still: A Michael J. Fox Movie, Davis Guggenheim's Apple TV+ original exploring the actor's rise to Hollywood fame and subsequent struggle with Parkinson's, Powell spent a whopping five months working on a score that balanced Fox's unique struggles while emphasizing the joy and energy that animates the actor's decades-long career.   Powell was also kind enough to join us to talk for a bit about the arduous process of building the score, how scoring for documentary requires an entirely different musical vocabulary, and how Guggenheim pulled him through his toughest moments as a composer.   You can find John Powell at his official website here.   Still: A Michael J. Fox Movie is currently streaming on Apple TV+. You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.

Ever since his 2018 feature debut Sorry to Bother You, Oakland-based musician Boots Riley (of The Coup) has built a reputation as one of our most imaginative, socially-minded filmmakers, combining abject surrealism with biting commentary on the complex interweavings of race and capitalism in American life. (With a healthy dose of absurd comedy, of course.)   His followup is the seven-episode Amazon series I'm a Virgo,  starring Jharrel Jerome as a 13-foot-tall Black man named Cootie, hidden away since birth by his overprotective parents in Oakland. But when he escapes and finally sees the real world for what it is, he's both amazed and aghast at the joys and horrors it contains. Sure, he finally gets to try fast-food burgers, and falls in love with a charming woman named Flora (Olivia Washington) who has her own sort of superpower. But he also faces the increased commodification of his size and self by a world that views him as an object... or, in the case of real-life superhero The Hero (Walton Goggins), a "thug" that needs to be taken out.   Aiding Riley's beautifully maximalist project is indie duo Tune-Yards, aka Merrill Garbus and Nate Brenner, who adapt their signature frenetic hooks, and limber vocalizations to a soundscape as riveting as it is unconventional. And now, Garbus and Brenner join me on the show to talk about working with Boots' exacting creative vision, adapting to the world of composing, and what it's like for musicians out there in a world where unionization is on the minds of everyone in the wake of the SAG and WGA strikes.   You can find Tune-Yards at their official website here.   I'm a Virgo is currently streaming on Prime Video. You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.

The third season of Star Trek: Picard had a lot on its shoulders: It was the final season of its show, as well as a bombastic, blockbuster-level bow for the cast of Star Trek: The Next Generation. For its first two seasons, Patrick Stewart and the showrunners shied away from Starfleet uniforms and shiny utopias, and Jeff Russo's score reflected that (as we've discussed with him on this very show). But showrunner Terry Matalas had a different vision in mind for Season 3: Celebrate the crew whose adventures captured generations of fans, with a big, brassy sendoff meant to give them the finale they finally deserved.   And that they did, thanks to the tireless work of composers Stephen Barton and Frederik Wiedmann. Together, they handled hours of big orchestral sounds, crafting new themes for ships and characters like the Titan and Jack Crusher. At the same time, there was decades' worth of callbacks to Star Trek's musical legacy that needed acknowledgment, from Jerry Goldsmith's TNG theme to the movie-esque sweep of James Horner and Dennis McCarthy. Through plenty of blood, sweat, and tears, they pulled it off, crafting an immense body of work that fit snugly within the legacy of Star Trek while incorporating musical Easter eggs big and small into its superstructure.   This week on the podcast, Barton and Wiedmann join me for a nice long chat about the hectic production process, the many Trekkian cues they had to blend together, and the value of having creative collaborators (like Matalas) who know exactly what they want.   You can find Stephen Barton and Frederik Wiedmann at their official websites.   The entirety of Picard Season 3 is available for streaming on Paramount+. You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.

The Star Trek universe is a franchise with decades of musical legacy, from the original Alexander Courage fanfare to Jerry Goldsmith's nautical bombast for The Motion Picture, all the way to Michael Giacchino's sweeping work on the J.J. Abrams films. But Paramount+'s animated comedy Star Trek: Lower Decks, which follows the bottom-rung officers on the support ship the USS Cerritos, doesn't stray from that formula to go for the laughs.   Instead, composer Chris Westlake chose to lean into Trek's innate musical majesty, crafting a score that's just as big -- if not bigger -- than some of the other entries in the franchise's canon. It's new Trek, constantly referencing the old Trek, but taking the exploits of the Cerritos as seriously as those of the USS Enterprise.   Westlake has worked for decades on films like Before We Go, also offering additional music for trailers for Star Wars and films like Gravity. And for Lower Decks, he and showrunner (and close friend) Mike McMahan knew they needed to build a suitably Trekkian soundscape for the show, rather than pointing out the gags innate to the series' irreverence to the final frontier.   Together, we talk about boosting the laughs by taking Trek music seriously, his own history with the franchise's musical soundscapes, and figuring out exactly what Klingon death metal sounds like. (Plus, you'll get exclusive commentary from Westlake on how his iconic theme for the show came together.)   You can find Chris Westlake at his official website here.   All three seasons to date of Star Trek: Lower Decks are currently streaming on Paramount+. You can also listen to the score on vinyl or your preferred music streaming service, courtesy of Lakeshore Records.

Earlier this month, the 2022 Grammys ran its first-ever category for Best Score Soundtrack for Video Games and Other Interactive Media -- a long-overdue recognition of the value of video game scores as a legitimate method of expression, and a source of some incredible music. And among an initial crop of stellar composers offering intriguing sounds to all manner of video games big and small, it was a DLC, of all things, that took home the prize: the Dawn of Ragnarok DLC for Ubisoft's Assassin's Creed: Valhalla.   While the base game put you in the shoes of a Viking descendant of the Norse god Odin, Dawn of Ragnarok puts you right in Odin's shoes, telling a mournful, mythological tale of revenge that required a huge, bombastic sound suffused with Nordic muscle. Stephanie Economou, fresh off previous Valhalla DLC The Siege of Paris, took to that assignment with her signature gusto: She recruited black metal band Wilderun to contribute tracks and give her an education on the genre itself, her frequent collaborator Ari Mason to contribute vocals, and the show-stopping title theme saw her collaborating with Assassin's Creed musical titan Einar Selvik.   It's a pulse-pounding, immersive score that's as big as its game, and Economou sat down to talk with us the week before the Grammys to discuss the building of that score, how it dovetailed into her growth as a composer, and how it feels to be the first female Grammy nominee for Best Original Video Game Score.   You can find Stephanie Economou at her official website here.   Assassin's Creed Valhalla: Dawn of Ragnarok is currently available to play on  PC, Xbox, and PlayStation. You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.  

Synopsis On today's date in 2019 a new documentary film entitled Toni Morrison: The Pieces I Am debuted at the Sundance Film Festival in Utah examining her powerful works and her career as a Black American artist.Appropriately enough, the musical score for that documentary was crafted by another talented Black American woman, namely Kathryn Bostic, an accomplished composer of film, TV, theatrical, and concert hall scores.Kathryn Bostic is a recipient of many fellowships and awards including several from the Sundance Festival.  Kathryn served the Vice President of the Alliance for Women Film Composers, is a member of the Television Academy of Arts and Sciences, and in 2016 she became the first female African American score composer in the Academy of Motion Picture Arts and Sciences.“My parents loved music and my mother was a classical pianist and teacher,” says Bostic “Listening to the wide range of music while growing up brought me to a phenomenal treasure trove of black composers including William Grant Still, Ulysses Kay, George Walker, Margaret Bonds, Duke Ellington, Quincy Jones, Isaac Hayes … I mean I could go on and on. They are all such extraordinary innovators of rich textures and amazing emotional depth. Definitely big influences for me.” Music Played in Today's Program Kathryn Bostic: Main Title, from "Toni Morrison: The Pieces I Am" Lakeshore Records 35495 (original soundtrack album)

For Texan-born composer Chanda Dancy, 2022 feels like a breakthrough year. She's worked in the film and television composing business for eighteen years, an alumnus of the USC Film Scoring Program and the Sundance Composers Lab, as well as projects like Netflix's The Defeated and Everything Before Us. But she's struck gold with several major projects this year... including one that has her on the shortlist for an Academy Award nomination for Best Original Score. If so, she'd be the first Black woman in the history of the Oscars to receive such long-overdue recognition. That project, of course, is J.D. Dillard's moving, effective Korean War epic Devotion, starring Jonathan Majors and Glen Powell (in his second go-round in the cockpit this year after Top Gun: Maverick) as real-life fighter pilots -- and eventual best friends -- Jesse Brown and Tom Hudner. Charting the course of their friendship over sorties and scuffles within a very racially-stratified US Navy, Dillard's work is understated in its power, anchored by Majors and Powell's wounded, vulnerable performances. And thrumming underneath their interpersonal tensions and the roar of gunfire is Dancy's churning, propulsive score, one that pits steady synths and percussion with whirling high strings to contrast the powerful machines on display with the very human men who fly them. That's not the only iconic project Dancy worked on this year: she also provided the incidental score for Kasi Lemmons' biopic of Whitney Houston, I Wanna Dance with Somebody. Together (just a few hours before her Oscar shortlist inclusion was announced, mind you), Dancy and I talked about the long road she took to get to this place in her career, the classical influences that have shaped her work, and what it meant to her and her orchestras to get the chance to highlight the biggest moments of The Voice's life and songs. You can find Chanda Dancy at her official website here. Devotion is currently streaming on Paramount+, and Whitney Houston: I Wanna Dance With Somebody is currently playing in theaters. You can also listen to the score for Devotion on your preferred music streaming service courtesy of Lakeshore Records.

William Gibson is the father of cyberpunk, that most evocative of sci-fi genres -- where technology meets flesh in the neon-soaked worlds of the corporate-run near future. But explicit adaptations of his work have been few and far between: the closest I can think of is the wishy-washy Keanu Reeves vehicle Johnny Mnemonic. The latest, and most sprawling, attempt comes from Prime Video's The Peripheral, based on the 2014 novel of the same name about two siblings in a near-future rural dystopia (played by Chloe Grace Moretz and Jack Reynor) who become unwitting pawns in a game of wits and warfare decades further in the future, across differing timelines.   Westworld showrunners Jonathan Nolan and Lisa Joy port over that show's sense of dour retro-futurism into The Peripheral's sleek, minimalist designs and big ideas about the destiny of humanity. But alongside that sits a tightly-plotted and darkly funny slice of rural-tech thriller, somewhere between Ozark and, well, Westworld, with plenty of portentous omens about the destruction of the world and the dissolution of identity along the way.   It certainly helps matters that the show is scored by this week's guest, Genie and Gemini Award-winning composer Mark Korven. A staple of Canadian horror and sci-fi film and TV, Korven cut his teeth with Peripheral director and EP Vincenzo Natali on films like Cube. But his best-known work is easily his score for 2015's The Witch, for which he helped invent the innovative new instrument, The Apprehension Engine.   His works are crackling, atmospheric pieces that revel in their own discordance, banging and clanging odd instruments together. That approach dovetails nicely with The Peripheral's brutalist sci-fi minimalism, with a hefty drone of synth to soak in the proceedings alongside his homespun methods. On the pod, we talk about the Apprehension Engine, and how he approached his score to The Peripheral.   You can find Mark Korven at his official website here.   The entire first season of The Peripheral is now streaming on Prime Video. You can also stream the soundtrack on your preferred streaming service courtesy of Lakeshore Records.

On this Devil's Night, who better to raise a little hell with than my latest guest: Ben Lovett. Ben and I primarily talk about his latest score, Hellraiser, which is a reimagining/remake of Clive Barker's original novella The Hellbound Heart. As part of that discussion, we cover (among other things), Ben's utilization of Chris Young's themes for the original film, making the score something uniquely his own, and dealing with the pressure (and external criticism) that comes with working on such a big, beloved (sometimes) franchise. Hellraiser is currently streaming on Hulu, while Ben's score (and much of the rest of his music) is widely available physically and digitally, including on Ben's bandcamp. In addition, Mondo is releasing a limited edition (2,000 copies) vinyl in connection with Lakeshore Records and Death Waltz Recording.

Imagine a world where pain and pleasure are one and the same, where hellish delights await those who crave the extremities of sensation. That's the philosophical underpinning behind Clive Barker's Hellraiser series, one of horror's most long-running and iconic franchises, centering around the poor unfortunate souls who come across the Lamarchand Box, a mysterious puzzle box which -- when opened -- unleashes the Cenobites, a cabal of deformed hedonists riding the razor's edge of sadomasochistic experience.   It's a series that's run across eleven films over thirty-plus years, the latest being a radical reimagining courtesy of The Night House and Relative director David Bruckner. This time, series icon Pinhead is reimagined as a "dark priest" played by Sense8's Jamie Clayton, who soon haunts a recovering addict named Riley (Odessa A'zion), who crosses paths with the Lamarchand Box after her brother goes missing. It's a film filled with grim delights and no small amount of squicky body horror, as our characters learn firsthand what happens when otherworldly forces conspire to tear your soul apart.   Just as the Cenobites explore the curious intersections between blood and beauty, so does Bruckner's regular composer, Ben Lovett, experiment with different configurations of his musical puzzle box. In addition to his distinctive use of electronic elements and discordant, warped instrumentation, he finds ways to weave in Christopher Young's classic theme from the 1991 original, tying it to Hellraisers of the past while cementing Bruckner's version as its own unique beast.   Now, Ben and I talk about his score to Hellraiser, his collaboration with David Bruckner, and much more (alongside commentary tracks from the score).   You can find Ben Lovett at his official website here.   Hellraiser is currently streaming on Hulu. You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.

I interview Tim Williams, composer of the soundtrack for the movie Pearl. (Oct 11, 2022) Here's the press release from his publicist: (September 15, 2022 – Los Angeles, CA) – Today, A24 Music released the single “Pearl Main Titles” from the Pearl Original Motion Picture Soundtrack with music by Tyler Bates & Timothy Williams, listen here. The full 19-track album will be available September 23 on major digital platforms. With only six weeks to assemble a 68-person orchestra, Bates brought in frequent collaborator Timothy Williams, who worked with the composer on Guardians of the Galaxy, to help him audition musicians, build the orchestra, rehearse over four days in Nashville, and record the score. “In the style of mid-century melodramas,” says West, “Tyler Bates fashioned a sweeping, shrieking, strings-based score that lets the viewer know from the opening credits that Pearl will not be a subdued or quiet film. I said to him, ‘let's do a romantic, melodramatic, old-school score for this movie.'” He continues, “This wasn't the first time I've used live instruments on a movie—but it was the first time I had a full orchestra. It was awesome. Tyler and Tim really hit it out of the park. The score is very much one of the film's central characters, and that was important." “Ti expressed the musical approach to this film with us before filming,” says Bates & Williams. “We knew that the music would be based in an "Old Hollywood" approach, which stylistically is something we both love to do. This was a rare opportunity to write a lyrical score where the main theme permeates the music throughout the myriad emotional and psychological dynamics from beginning to end.” ABOUT TIM Timothy Williams is a multi-award-winning composer best known for his work on Pearl, Finding You, Brightburn, and Get Out! Williams' films includes A24's Pearl, co-scored with Tyler Bates, Gravitas' The Swearing Jar, Roadside Attractions' Finding You, Screen Gems' Brightburn, directed by David Yarovesky, We Summon The Darkness, directed by Marc Meyers, which won best score award at ScreamfestLA; Wild Horses, directed by Robert Duvall; I.T., directed by John Moore, and Red Sky, for which Tim Williams was nominated Best Composer by Motion Picture Sound Editors and best score at the Hollywood Music in Media Awards. Williams has written additional music for the Academy Award® and Golden Globe® winner Get Out!, Guardians of the Galaxy Vol. 1 and Vol. 2, Hobbs and Shaw, Deadpool 2, 300, Watchmen, Super, Sucker Punch, and The Spy Who Dumped Me. Television work includes co-scoring AMC/Shudder Creepshow with Tyler Bates, Disney Junior's Piney, the Fox pilot Richard Lovely, and additional music on Fox's The Exorcist (S2), ABC's Missing and Comedy Network's Sym-Bionic Titan. A graduate of the National Film and Television School, Williams has received two Motion Picture SE Golden Reel Award nominations (Red Sky), four Thea Award wins, 10 ASCAP Plus Awards and won best score at the 24FPS Festival (Butterfly Circus), best score at ScreamfestLA 2019 (We Summon The Darkness) and best soundtrack nomination at the HMMA Awards (Red Sky). Tim has had multiple soundtracks released by Milan Records, Lakeshore Records, Varèse Sarabande and MovieScore Media.

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. COLIN STETSON Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore. Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter. Stetson's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary (2018), The First (2018), Red Dead Redemption 2 (2018), Color Out of Space (2019), Barkskins (2020), Mayday (2021), Among The Stars (2021), Texas Chainsaw Massacre (2022), The Menu (2022), and Uzumaki (2023). TIMOTHY WILLIAMS Timothy Williams is a multi-award-winning composer best known for his work on Pearl, Finding You, Brightburn, and Get Out! Williams' films includes A24's Pearl, co-scored with Tyler Bates, Gravitas' The Swearing Jar, Roadside Attractions' Finding You, Screen Gems' Brightburn, directed by David Yarovesky, We Summon The Darkness, directed by Marc Meyers, which won best score award at ScreamfestLA; Wild Horses, directed by Robert Duvall; I.T., directed by John Moore, and Red Sky, for which Tim Williams was nominated Best Composer by Motion Picture Sound Editors and best score at the Hollywood Music in Media Awards. Williams has written additional music for the Academy Award® and Golden Globe® winner Get Out!, Guardians of the Galaxy Vol. 1 and Vol. 2, Hobbs and Shaw, Deadpool 2, 300, Watchmen, Super, Sucker Punch, and The Spy Who Dumped Me. Television work includes co-scoring AMC/Shudder Creepshow with Tyler Bates, Disney Junior's Piney, the Fox pilot Richard Lovely, and additional music on Fox's The Exorcist (S2), ABC's Missing and Comedy Network's Sym-Bionic Titan. A graduate of the National Film and Television School, Williams has received two Motion Picture SE Golden Reel Award nominations (Red Sky), four Thea Award wins, 10 ASCAP Plus Awards and won best score at the 24FPS Festival (Butterfly Circus), best score at ScreamfestLA 2019 (We Summon The Darkness) and best soundtrack nomination at the HMMA Awards (Red Sky). Tim has had multiple soundtracks released by Milan Records, Lakeshore Records, Varèse Sarabande and MovieScore Media.

We finally get to talk about a video game score for the first time in the podcast's history! And yet, we're still intimately connected to the realm of moviemaking considering the subject material: Immortality, the new game from Sam Barlow, who made Her Story and Telling Lies.   Keeping with the interactive-movie brief of those previous games, Immortality is a time/genre-spanning mystery that tasks you with poring over the raw footage of three films starring a young actress named Marissa Marcel, who disappeared without a trace. By jumping from clip to clip between these films -- late-'60s erotic religious thriller Ambrosio, 1970s detective film Minsky, and 1999 showbiz tragedy Two of Everything -- you peel back the layers of Marissa's fate, and explore the very nature of media as a means to achieve eternal life.   For this project, Barlow enlisted the aid of twice-Emmy-nominated composer Nainita Desai, who also scored Telling Lies, to build the musical world of Immortality. Rather than scoring to genre specificity, Desai built three major themes exploring unique ideas spread among the three films: religion, life, and art. And, of course, she finds ways to subvert and play with those ideas, giving her lush, suspenseful orchestrations a feeling of cohesion while guiding the player through the emotional journey we share with Marissa.   I was delighted to have Nainita on the show to talk about her journey, her influences, her unique working relationship with Barlow, and the cinematic influences she drew from as she stitched these three celluloid worlds together. (Plus, stay tuned for track commentaries breaking down these motifs in greater depth.)   You can find Nainita Desai on her official website here.   Immortality is available to play on Steam, Netflix Games, and Xbox (free on Day One if you have Game Pass) You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.

As the Emmys swerve just around the corner, I wanted to take a look at one of the year's best shows -- Showtime's Yellowjackets, which is currently up for three Emmys, including Outstanding Drama Series. The witty, darkly comic series tracks the trials and traumas of a high school girls' soccer team stranded in the mountains by a plane crash, and the ways their situation ripples through into the future of the survivors decades later. It's a (literally) killer showcase for its cast, including Melanie Lynskey, Christina Ricci, and Juliette Lewis as adult versions of the crash's few remaining survivors. And the story is filled with amputations, poisonings, blood sacrifices, and explosions -- and that's only in one-half of the show's time-hopping tragedy. With its heady mix of Lost and Buffy the Vampire Slayer, it's easy to see why it's getting so much praise. One hardly-undersung element, ironically enough, is the score courtesy of Craig Wedren and this week's guest, Anna Waronker. A veteran of the LA  alternative/indie scene, Waronker made her bones as frontwoman of alt-rock band that dog, she soon moved into film and TV composing with films like Josie and the Pussycats and, most recently, shows like Hulu's Shrill. Those grungy alt-rock roots are in full force in her and Wedren's work on the Yellowjackets, personified in its earworm of an opening title track, "No Return." This week, I'm here with Anna to talk about coming up as a composer, how her riot-grrl sensibilities translated to film and TV scoring, and the subversive approaches she and Wedren took to Yellowjackets (as well as her solo work for fellow Showtime comedy I Love This For You. Both Yellowjackets and I Love This For You are currently streamable on Showtime. You can also listen to the score for the first season of Yellowjackets on your preferred music streaming service courtesy of Lakeshore Records.

Ted welcomes author and music journalist Michael Goldberg to talk about his book, "Wicked Game: The True Story of Guitarist James Calvin Wilsey The post Episode 50: James Wilsey's Wicked Game first appeared on Planet LP Podcast.

Blog link: http://videogamegrooves.com/2022/04/24/episode-94-street-fighter-alpha-2-skullgirls No fighting game soundtrack left unfeatured! At least, that seems to be our motto, but can you blame us? We just can't pass up these pristine pressings of pugilistic polyphony! This week, Anthony takes us back to class and demonstrates the musical evolution of the Street Fighter series with Street Fighter Alpha 2. We listen to some of the riffs on the classic SF2 themes, and we're introduced to some new ones that fit seamlessly into the pantheon of music... but what are we left humming? Then we take a jog on the jazzy and jiggly side with Skullgirls, jamming to Michiru Yamane and Vincent Diamante's homage to the 1940s, while the gameplay recalls Marvel vs Capcom 2. The game's interesting history and ambitious art and music are front and center for appreciation. We may throw down a few gauntlets in this episode. Ready? Fight! We press on to discuss the "genre" considerations of listenability and vinyl pressing. Why have fighting games been regularly featured on VGG, and what types of games seem to be missing? We also catch you up on the latest releases and announcements! Could international currency exchange work in your favor this week? Mmmmmaybe. Outro: "Guy Theme" - Street Fighter 2 Alpha, by Setsuo Yamamoto, Syun Nishigaki, Tatsuro Suzuki Twitter – @vg_grooves, @jeremy_lamont, @ajohnagnello Links: Chrono Cross: The Radical Dreamers Edition Vinyl (Square Enix US) (Square Enix JP)    https://store.na.square-enix-games.com/en_US/product/725855/chrono-cross-the-radical-dreamers-edition-vinyl    https://store.jp.square-enix.com/item/SQEX_10936.html Final Fantasy Chocobo and Friends (Square Enix US)    https://store.na.square-enix-games.com/en_US/product/725858/chocobo-and-friends-select-tracks-from-the-fantasy-series-compi-vinyl-set Final Fantasy 9 (Square Enix US)    https://store.na.square-enix-games.com/en_US/product/726993/final-fantasy-ix-vinyl Needy Girl Overdose (Frontier Works, Amazon JP)    https://www.amazon.co.jp/dp/B09WYJYL5K/ Deathloop (Limited Edition X4LP Boxset) (Laced Records)    https://www.lacedrecords.co/products/deathloop-original-soundtracklimited-edition-x4lp-boxset Deathloop (Deluxe Double Vinyl) (Laced Records)    https://www.lacedrecords.co/collections/vinyl/products/deathloop-original-soundtrack-deluxe-double-vinyl Tiny Tina's Wonderlands (Laced Records)    https://www.lacedrecords.co/products/tiny-tina-s-wonderlands-limited-edition-deluxe-double-vinyl Far Cry 6 (Laced Records)    https://www.lacedrecords.co/products/far-cry-6-limited-edition-deluxe-triple-vinyl Mercenary Kings (Yetee Records)    https://theyetee.com/products/mercenary-kings-soundtrack Streets Of Rage 4: Mr. X Nightmare (Brave Wave)    https://limitedrungames.com/collections/all-soundtracks/products/streets-of-rage-4-mr-x-nightmare-vinyl-soundtrack Umurangi Generation (Stumpy Frog Records)    https://www.stumpyfrog.com/ About That... Paradise Killer B-Sides (Black Screen Records)    https://blackscreenrecords.com/collections/paradise-killer/products/about-that-paradise-killer-b-sides Eastward (iam8bit) Standard: https://www.iam8bit.com/collections/eastward/products/eastward-2xlp-vinyl-soundtrack Board game: https://www.iam8bit.com/collections/eastward/products/eastward-2xlp-limited-edition-board-game Unpacking (Limited Run Games)    https://limitedrungames.com/collections/all-games/products/unpacking-2lp-vinyl-soundtrack Assassin's Creed Valhalla: Dawn Of Ragnarök (Lakeshore Records)    https://www.lakeshorerecordsshop.com/product/assassin-s-creed-valhalla-dawn-of-ragnarok-original-game-soundtrack Banjo-Kazooie Re-Jiggyed (Respawned Records) (Black Screen Records) https://respawnedrecords.com/collections/vinyl-releases/products/banjo-kazooie-re-jiggyed    https://blackscreenrecords.com/collections/soundtracks-vinyl/products/banjo-kazooie-re-jiggyed Hypnospace Outlaw (Fangamer)

It's safe to say that the world of film music, especially modern film music, owes a lot to Portishead's Geoff Barrow. In a large way, that's due to the instrumentalist and musician's founding of indie label Invada Records in 2001, which placed an early focus on hip hop and experimental acts before pinning down a unique emphasis on releasing film scores. But he's a prolific film and TV composer in his own right, as he paired with composer Ben Salisbury in the early 2010s for an abortive score to the 2012 film Dredd, which they later released as DROKK. From there, they sailed into an easy partnership with filmmaker Alex Garland, for whom they've scored all of his works since, from Ex Machina to Annihilation to Devs -- sneaky, unsettling scores that use found sounds and minimal instrumentation to convey the alienness of Garland's worlds.   It's an approach that works nicely for one of Netflix's newest shows (now a one-season wonder thanks to the recent news of its abrupt cancellation), the supernatural head-scratcher Archive 81, about an archivist (Mamoudou Athie) tasked with restoring a cache of mysterious documentary footage from a burned-down New York apartment building known as the Visser. From there, he finds himself lured into the viewpoint of deceased filmmaker Melody (Dina Shihabi) and the secrets she unearthed during her investigation. Timelines merge, prophecies are unraveled, and the true nature of the Visser's fate comes into sharp relief.   For the podcast, Ben and Geoff were kind enough to talk to me about the origins of their years-long partnership, Geoff's work with Invada Records, and the painstaking but rewarding process for carving out the analog atmosphere of Archive 81.   You can find Ben Salisbury and Geoff Barrow at their official websites.   Archive 81 is currently streaming on Netflix. You can also listen to the score for Archive 81 on your preferred music streaming service courtesy of Invada Records and Lakeshore Records.

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER It's almost Oscar time and that means we need to talk about the nominees for Best Score and Best Original Song! We give snap judgments on a stacked crew of incredible composers and a fairly predictable Best Original Song category. But who will surprise us, and who will our picks be? Find out on this bonus episode of Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt from “La Cumbia De Mirabel” taken from the original motion picture score for Encanto, written and composed by Germaine Franco. ℗ 2021 Walt Disney Records. Excerpt from “Don't Look Up - Main Title Theme” taken from the original motion picture soundtrack for Don't Look Up, written and composed by Nicholas Britell. ℗ 2021 Maisie Music Publishing, LLC, under exclusive license to Republic Records, a division of UMG Recordings, Inc. Excerpt from “Ripples in the Sand” taken from the original motion picture soundtrack for Dune, written and composed by Hans Zimmer. ℗ 2021 WMG on behalf of WaterTower Music. Excerpt from “25 Years” taken from the original motion picture soundtrack for The Power of the Dog, written and composed by Jonny Greenwood. ℗ 2021 Lakeshore Records. Excerpt from “Sesión de fotos” taken from the original motion picture soundtrack for Madres paralelas (Parellel Mothers), written and composed by Alberto Iglesias. ℗ 2021 Quartet Records under license from El Deseo. Excerpt from “Be Alive” taken from the original motion picture soundtrack for King Richard. Music and lyrics by DIXSON and Beyoncé Knowles-Carter, and performed by Beyoncé. ℗ 2021 Parkwood Entertainment LLC, under exclusive license to Columbia Records, a Division of Sony Music Entertainment. Excerpt from “Dos Oruguitas” taken from the original motion picture soundtrack for Encanto. Music and lyrics by Lin-Manuel Miranda and performed by Sebastián Yatra. ℗ 2021 Walt Disney Records. Excerpt from “Down to Joy” taken from the original motion picture soundtrack for Belfast. Written and performed by Van Morrison. © Exile Productions, Ltd. Excerpt from “No Time To Die” taken from the original motion picture soundtrack for No Time To Die. Music and lyrics by Billie Eilish and Finneas O'Connell, and performed by Billie Eilish. © 2020 Darkroom/Interscope Records. Excerpt from “Somehow You Do” taken from the original motion picture soundtrack for Four Good Days. Music and Lyrics by Diane Warren, and performed by Reba McEntire. An MCA Nashville Release; ℗ 2021 Rockin' R Records, LLC, under exclusive license to UMG Recordings, Inc.

Months after he came on the show last (for the COVID documentary In the Same Breath), composer Nathan Halpern has been extremely busy. Just a few weeks ago, he scored three films that premiered at this year's Sundance film festival: the nail-biting thrillers Watcher and Emily the Criminal, as well as the documentary short The Martha Mitchell Effect.   But this week, we're talking about a film that premiered at last year's Tribeca Film Festival, one of the best, most under-discussed films of 2021: Josef Wladyka's Catch the Fair One. A pulse-pounding thriller with an activist heart, the film follows a Native American ex-boxer named Kaylee (played by real-life welterweight champion Kali Reis, in an icily intense performance), who pours every inch of herself into trying to track down the people responsible for her younger sister's disappearance.   The issue of Native erasure is nothing new, and one that Wladyka and Reis (who collaborated with him on the story) took extremely seriously. Catch the Fair One works like gangbusters as a cold, uncompromising action thriller, to be sure, but it also carries the dehumanizing weight of the past -- a woman sacrificing everything human about her to right a wrong that further Others people like her.   Gliding effortlessly along Wladyka's anguished brutality is Nathan Halpern's score, bringing his signature love of drones and tones to the film's atmosphere. Like the ice-blue cinematography and underplayed intensity of its lead, Halpern's work immerses us in the cruelty of Kaylee's world through haunting, hollow electronic sounds and lonely solo brass. Rumbling bass and screeching static punctuate the moments when Kaylee is most put through her paces, leavening only to remind us of the bleak tragedy of her journey.   Joining us again on the pod, Nathan talks about how he maintains such a prolific workflow, honoring the Native cultural markers of the story, and worming his way into the psychology of a protagonist that has nothing to lose.   You can find Nathan Halpern at his official website here.   Catch the Fair One is currently playing in select theaters and on VOD. You can also listen to the score for Catch the Fair One on your preferred music streaming service courtesy of Lakeshore Records.

When one thinks of most modern film scoring, we're in an interesting realm of experimentation and innovation -- one less defined by the traditional symphonic orchestras of John Williams and James Horner and more by the electronic and textured influences of Hans Zimmer and his coterie. Normally, Oscar-nominated composer Daniel Pemberton operates in the latter realm, thinking outside the box on scores ranging from Ridley Scott's The Counselor to Into the Spider-Verse and beyond.   But for Being the Ricardos, his fourth collaboration with acclaimed screenwriter Aaron Sorkin (third with Sorkin as director), Pemberton goes back to basics for a much more classical score than we're used to hearing from him. Following a particularly tumultuous week in the life and career of Lucille Ball (played by Nicole Kidman), Being the Ricardos sees the I Love Lucy star navigating a series of controversies, from a particularly stubborn comedy bit on her hit sitcom to the tensions between her and husband/co-star Desi Arnaz (Javier Bardem), to media rumors that she's a registered member of the Communist Party.   To fit the sweeping nostalgia (and bittersweet flaws) of its 1950s Hollywood setting, Pemberton's crafted a score replete with an overarching main theme that encapsulates the sadness and struggles of Ball's attempts to carve out a place for herself in a male-dominated Hollywood. Coupled with percussion-heavy cues that sell the fast-talking, fast-moving pace of Sorkin's dialogue, it's a score that's refreshing in its old-fashionedness.   Today, Pemberton calls in from London over Zoom to talk to us about creating the score to Being the Ricardos, working with Sorkin, and the restrictions and opportunities that come with traditional scoring.   You can find Daniel Pemberton at his official website here.   Being the Ricardos is currently streaming on Amazon Prime Video. You can also listen to the score for Being the Ricardos on your preferred music streaming service courtesy of Lakeshore Records.   Patreon: https://www.patreon.com/thespool

This week Jeremy interviews singer / songwriter Kevin Devine On this episode the two discuss support tours, playing quiet music to loud audiences, the Guns N Roses to Nirvana pipeline, R.E.M., Korn, learning songs by ear, first studio experiences, the development of his singing style, touring Canada in the Winter, The Miracle of 86, Lakeshore Records, signing to Capital Records and working with Rob Schnapf, phone calls to friends, a special performance of his song “Splitting Up Christmas” and so much more!  For a bonus episode where Kevin answers questions submitted by subscribers + a video of the live performance - Subscribe to the patreon: Patreon - https://www.patreon.com/thefirsteverpatreon Discuss this episode with Jeremy and other listeners: Instagram - https://www.instagram.com/thefirsteverpodcast Twitter - https://www.twitter.com/thefirsteverpod

In Your Heart (Carla Patullo @carlapatullo S01 E022) She's scored over 30 motion pictures, including My Name Is Maria De Jesus for HBO, the Sundance award-winning film Spa Night for NETFLIX and the SXSW horror-comedy Porno for SHUDDER.Lakeshore Records recently released her Original Motion Picture Soundtrack to Fangoria's PORNO (2019). In addition to composing, Carla is a prolific songwriter and has written over 100 songs with placements on Emmy and BAFTA award-winning shows, such as The Ellen DeGeneres Show (NBC), Skins (E4 & MTV), Sabrina the Teenage Witch (ABC), The Young and the Restless (CBS), and many more.Carla's upcoming and soon-to-be-released projects include:Scoring Trick Studio's animated feature Shadowmaker.The documentary THE LIFE OF DAN by Emmy Award-winning director Jeremy Levine.Writing music for her new album So She Howls.It is an exceptional honour to have her here today on the show, with us: Carla Patullo.Enjoy! We have episodes in English and Spanish, guest composers, producers, musicians who create tracks that tell inspiring stories. Thanks for listening!This episode is sponsored by El Luchador Audio, a company that produces beautifully crafted loops, samples, tools, and exclusive content for creating music with a focus on promoting Latin musical talent.Gracias, thank you for being with us today, thank you for making, listening and/or supporting music, if all is well, do not forget to subscribe and we will catch you in the next one. m.Support this podcast at — https://redcircle.com/elcomposerpodcast/donations

Elena Charbila, also known as Kid Moxie, is a Greek musician, composer, and actress. Under her musical moniker, she creates what can only be defined as cinematic electro pop. Elena's music has been featured in multiple TV commercials, TV shows, and indie films. She composed the soundtrack to the new film ‘Not To Be Unpleasant, But We Need To Have A Serious Talk' by Giorgos Georgopoulos. Released on Lakeshore Records, the soundtrack includes her cover of Alphaville's “Big in Japan.” She created tracks for the action video game “Cyberpunk 2077” and her latest work No Island Temple Remix in collaboration with Die Arktekt is available now. In this episode, In this episode, Elena and Nadine talk about her finding artistic and personal freedom in music, they chat about how her process works and shifts per project and her fascination with building a bridge from this realm to another. They discuss the art of networking and the importance of being your own manager. In relation to this, Elena shares how she came to work with Angelo Badalamenti and David Lynch on the rework of “Mysteries of Love.” All the music in this episode was kindly provided by Kid Moxie. The episode contains the following songs, in order of appearance: Slow Escape (from “Not To Be Unpleasant”), Jacqueline the Ripper (from “1888”), Closer Than Ever (from “Not To Be Unpleasant”), Bonsai (from “Not To Be Unpleasant”), No Island (remix with Die Arkitekt.) Kid Moxie, Elena Charbila, is a Greek composer and actress based in California, USA. You can check out her work on Spotify, iTunes, and YouTube. Nadine Reumer is a Dutch actress and podcaster based between Amsterdam and New York City. For further information on her work & to get in contact, visit her website: www.nadinereumer.com See acast.com/privacy for privacy and opt-out information.

Hello again, everyone! On this episode of the podcast, I am joined by the brilliantly skilled composer Benji Merrison. Benji is based in London and has provided music across a wide spectrum of media, from TV to film, documentaries and art installations. His background includes both formal music schooling as well as music production and engineering. Some of Benji Merrison's previous projects include TV series for BBC 1 such as FORCES OF NATURE, DYNASTIES and GREEN PLANET. Today, I have welcomed him to my podcast to talk about his latest feature film score, for the action thriller SAS: RED NOTICE, directed by Magnus Martens. The soundtrack for SAS: RED NOTICE is available from Lakeshore Records.   Stay safe out there, wear a mask and take care of yourself and each other!    Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod   Email the show at ascoretosettlepodcast@gmail.com 

Episode #37 of The MediaFiles. This morning, Kyle and Lindsey are back in the studio to chat about another Netflix original series that released last month, Bridgerton! Email the show at themediafiles@leveldowngames.com with suggestions, comments, or whatever else you have to say! We want to hear from you! Please consider supporting the show by using our Amazon Affiliate link when shopping online! CONTACT US Website: https://leveldowngames.com/ Discord: https://discord.gg/cC73Heu Twitch: https://twitch.tv/leveldowngames Twitter: https://twitter.com/brucetoph Instagram: https://instagram.com/brucetoph/ Facebook: https://facebook.com/leveldowngaming SHOW SPECIFIC CREDITS "Main Theme" from Bridgerton is composed by Kris Bowers and is copyright by Lakeshore Records & Netflix MUSIC CREDITS Intro Song: "Higher Up" by Shane Ivers - https://www.silvermansound.com Outro Song: "La Pompe Du Trompe" by Shane Ivers - https://www.silvermansound.com Ad-Read Song: "Song of Elune" is copyright by Blizzard Entertainment --- Send in a voice message: https://anchor.fm/the-mediafiles/message

Welcome to another episode of "Listen to the Film". This podcast explores a soundtrack in detail and its relationship to the film. In this episode we explore the coming of age acclaimed drama "Ladybird. This intelligent score by Jon Brion together with the contempary tracks give the characters and the film so much depth and emotion. All clips and music are property of Light In The Attic records, Fire Soundtracks, Lakeshore Records and Legacy Recordings. All clips are used for commentary and review. Intro and outro track used: "Cliffside" by Dan Lebowtiz from Youtube audio library (royalty free music). Follow me on social media by searching for "Listen to the Film" on Instagram, Facebook and Twitter. @listentothefilm If you enjoy please, rate, review and subscribe, it is much appreciated. Visit: listentothefilm.com

Irish composer AMIE DOHERTY's (Sundance Composer and Time Warner Foundation Composer Fellow) credits span a wide range of genres in both film and television. Some of her recent scores include the short-film "Jurassic World: Battle at Big Rock," DreamWorks Animation's short film Marooned; Emmy-nominated documentary Light In The Water. Amie's recent orchestration and conducting work includes Star Trek: Discovery, Lucy In The Sky, The Umbrella Academy, Fargo and FX's Legion, Starz's Counterpart, and Netflix's Altered Carbon. In June 2018, she had the pleasure to work with rapper 50 cent, conducting an orchestra, choir and band at the world famous Radio City Music Hall in New York City for a performance at the premiere of his hit show Power. The streaming series, UNDONE, is one of Doherty's most recent scoring projects.Undone is an American adult animated comedy-drama web television series created by Raphael Bob-Waksberg and Kate Purdy and starring Rosa Salazar. This half-hour, genre-bending, program explores the elastic nature of reality through its central character, Alma, a twenty-eight-year-old living in San Antonio, Texas. After getting into a car accident and nearly dying, Alma finds she has a new relationship to time. She develops this new ability in order to find out the truth about her father's death. UNDONE premiered on September 13, 2019, on Amazon Prime Video, and is Amazon's first original animated series.In this episode, Amie Doherty takes us through several key tracks from the original Amazon series. She reveals how she was not only inspired by the visual artistry of the show but how this affected her choices in scoring each episode. At the same time she details some of the themes she wrote and techniques she employed to convey the sci-fi, mystical, and intimate family aspects to the series.ANNOTATED TRACKS / SEGMENTS02:17 - A Life Without Limitations03:32 - The Monotony of Life04:09 - Trick or Treating05:31 - Caught in a Weird Loop06:51 - The Life You Were Living09:56 - Doing the Rounds11:31 - Quantum Charis12:48 - Large Ventricles16:05 - Learning EnglishSOUNDTRACKThe original score for Undone was released by Lakeshore Records on September 13, 2019, and can be purchased at Amazon.com, iTunes, or streaming on Spotify and Apple MORE ABOUT THE COMPOSERYou can find out more and hear more music by Amie Doherty at her official site, https://www.amiedoherty.com/ABOUT THE ANNOTATORThis podcast is produced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.SUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle PodcastsRSS Feed

On this episode of The Lakeshore Records Podcast host Tony Giles is in conversation with composer Emile Mosseri, the man behind the outstanding score for The Last Black Man In San Francisco.

Join T.G as he chats to the legendary Dan The Automator about his recent score for Olivia Wilde's Booksmart, as well as his love of film music and upcoming projects. Booksmart is available now through Lakeshore Records.

The DFC is back to soundtrack your life! Join T.G for episode 134 of The Damn Fine Cast. Your friendly neighbourhood soundtrack/film music podcast. Featuring cuts from Waxwork Records, Lakeshore Records & more! The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

The DFC is back to soundtrack your life! Join T.G for episode 133 of The Damn Fine Cast. Your friendly neighbourhood soundtrack/film music podcast. Featuring cuts from Spun Out Of Control, Lakeshore Records, KPM, Ship To Shore Phono Co & more! The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

The DFC is back to soundtrack your life! Join T.G for episode 131 of The Damn Fine Cast. Your friendly neighbourhood soundtrack/film music podcast. Featuring cuts from Enjoy The Ride, Lakeshore Records, Cadabra Records, KPM & more! The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

Canadian composer, Andrew Lockington, has composed original scores for feature films such as Percy Jackson: Sea of Monsters, Journey to the Center of the Earth and Journey to the Mysterious Island. Additionally, he has scored “City of Ember,” “The Space Between Us” and “Rampage” which he discussed on The Annotator episode 34. One of his most recent projects has been scoring the original television series FRONTIER.FRONTIER is a Canadian historical period drama television series co-created by Brad Peyton, Rob Blackie, and Peter Blackie. The series chronicles the North American fur trade in late 1700s Canada, and follows Declan Harp (Jason Momoa), a part-Irish, part-Cree outlaw who is campaigning to breach the Hudson's Bay Company's monopoly on the fur trade in Canada, which has become corrupt and engages in illegal activities to enrich itself.In this episode, Andrew Lockington breaks down his main title, several key musical pieces from the series and the thematic development over the course of Frontier. He reveals how he chose to specifically and delicately handle the numerous cultural and historical elements of the score; employing them to produce a more modern-contemporary score than one might have anticipated. In contrast, Lockington also talks about how he found spots in the series for larger, orchestral moments.ANNOTATED TRACKS / SEGMENTS02:18 - Main Titles03:19 - Selection 204:35 - Selection 308:15 - Selection 412:25 - Selection 514:15 - Selection 616:27 - Selection 7SOUNDTRACKThe original soundtrack for FRONTIER was released by Lakeshore Records on January 25, 2019 and is available from Amazon.com and itunes. You can also stream the score on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Andrew Lockington at their official site http://www.andrewlockington.com/ ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

The DFC is back to soundtrack your life! Join T.G for our annual Record Store Day episode of The Damn Fine Cast. Featuring cuts from Terror Vision, Silva Screen, Enjoy The Ride, Cadabra Records, Lakeshore Records, One Way Static, Strange Disc & More. We also have a bonus chat with Aaron Lupton discussing his excellent tome Blood On Black Wax, available for the first time on RSD2019. The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

In this latest composer interview, Tony Giles chats with the very busy Brian Tyler, whose latest scores to Five Feet Apart and What Men Want are released on Lakeshore Records. Listen in now as Brian explains what he would agree are scores which are a departure to what film music fans are used to hearing from him throughout his career. In particular, his Five Feet Apart was approached as a concept album in collaboration with co-composer Breton Vivian.

Composer Frederik Wiedmann, who has composed original scores for over 40 projects, including animated films and TV shows such as: SON OF BATMAN, JUSTICE LEAGUE: FLASHPOINT and the GREEN LANTERN animated series, returns to continue his musical story behind The Dragon Prince.In our last episode, Wiedmann shared about how he originally came onto the Netflix project, his unique musical approach, making eclectic instrument choices from around the world, and the fan reaction to his season 1 score.In this episode, Frederik Wiedmann shares how decided to build on the musical foundation that was laid for season one. He reveals how he employs and develops two important, character, thematic elements from season 1 and lastly, his lofty musical goals for the climactic piece in the season 2 finale of The Dragon Prince.ANNOTATED TRACKS04:35 - "Encounter at the Breach"07:16 - "The Letter"09:14 - "How May I Serve You?"11:09 - "Into Your Heart and Mind"12:56 - "Wings"OTHER TRACKS00:05 - "In the Moon Temple"01:35 - "Only Human"15:35 - "Lady Justice: The Queens of Dure"17:29 - "I Can't Let You Go"If you haven't already, please listen to our previous episode (67), where Frederik Wiedmann talks about his work on season one of THE DRAGON PRINCE.SOUNDTRACKThe original score was released on February 22, 2019 by Lakeshore Records. You can purchase it at Amazon.com, iTunes and stream it on Spotify and Apple Music. MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Frederik Wiedmann at his official site http://www.frederikwiedmann.com/ or follow him on Twitter @freddiewiedmannABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

Frederik Wiedmann has composed for over 40 projects spanning multiple genres. He has written music for films such as HANGMAN (starring Al Pacino), Stoic (with Antonio Banderas) and the civil war epic FIELD OF LOST SHOES. He has also written original scores for countless DC animated shows and features such as: GREEN LANTERN: THE ANIMATED SERIES, JUSTICE LEAGUE: THE FLASHPOINT PARADOX, SON OF BATMAN and many others. One of his latest musical projects is for Netflix's popular original animated series, THE DRAGON PRINCE.Netflix debuted its exclusive series in late 2018. The story is set in the magical land of Xadia, where magic comes from six primal sources: the sun, moon, stars, sky, earth and ocean. When humans create a seventh -- dark magic -- war is sparked between Xadia and the Human Kingdoms. Three children from opposite sides of the conflict discover a secret that could change everything and decide to join forces and go on an epic journey. That trek could be their only hope of ending the war and restoring peace to both worlds.In this episode, Frederik Wiedmann talks about what project opened the door for him into the world of animation and eventually to THE DRAGON PRINCE. He also reveals the importance of the series' main theme and the palette of instruments he would use to convey this fantastic world. Lastly, he walks us through one of his original demo-pieces and the climactic piece for season one.ANNOTATED TRACKS04:19 - "Long Ago, In Xadia"07:45 - "Not That Simple"09:47 - "Fading Quickly"OTHER TRACKS00:13 - "The Dragon Prince (Main Theme)"00:42 - "Mercy"01:55 - "My Heart for Xadia"02:17 - "Azymondias"13:58 - "Brothers"14:53 - "Azymondias"SOUNDTRACKThe original score was released on February 22, 2019 by Lakeshore Records. You can purchase it at Amazon.com, iTunes and stream it on Spotify and Apple Music. MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Frederik Wiedmann at his official site http://www.frederikwiedmann.com/ or follow him on Twitter @freddiewiedmannABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

Join host Aaron Vehling as he chats with The Umbrella Academy composer Jeff Russo about the creation of the score for the hit Netflix TV show.

The DFC is back to soundtrack your life! Join T.G for episode 123 of The Damn Fine Cast. Your friendly neighbourhood soundtrack/film music podcast. Featuring cuts from Ship To Shore Phono Co, Waxwork Records, Watertower Music, Lakeshore Records, Giallo Disco & more! The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

The DFC is back to soundtrack your life! Join T.G for episode 122 of The Damn Fine Cast. Your friendly neighbourhood soundtrack/film music podcast. Featuring cuts from Lakeshore Records, Giallo Disco, Dagored, Terror Vision and more! The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

The DFC is back to soundtrack your life! Join T.G for episode 121 of The Damn Fine Cast. Your friendly neighbourhood soundtrack/film music podcast. Featuring cuts from Lakeshore Records, Broken Lamps, Mogwai, Music On Vinyl + More The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

The DFC is back for 2019 to soundtrack your life! Join T.G for episode 120 of The Damn Fine Cast. Featuring cuts from Lakeshore Records, Waxwork Records, Invada, Mondo + more. The Damn Fine Cast is brought to you by www.filmmusicdaily.com Two Headed Dog - https://www.twoheadeddog.com

Ethan Gold is an art rock performer, songwriter, music producer, and multi-instrumentalist. He performs under his name, as well as under his synth pop moniker Vyprz. While moonlighting as bass player and resident musician in his brother Ari's celebrity-driven folk party band the Honey Brothers, he scored his twin's debut film "Adventures of Power". Most recently, Gold released his soundtrack of original songs and score to his brother's second feature, THE SONG OF SWAY LAKE.This award-winning feature film, tells the story of a young record collector who, after his father's suicide, goes to his family's lake house to claim a valuable jazz recording. While he is there, encounters with his estranged grandmother and a neighbor dredge up years of family suffering. The film released in September of 2018 and was produced and directed by Ari Gold.In this episode, composer ETHAN GOLD talks about how he, in addition to writing the film's original score, came to write key songs for the film to replace the temp music from the 30s and 40s. He also reveals for the first time, the name of a mysterious instrument he employs; one that no one has been able to guess thus far. Lastly, Gold shares how his suffering a serious head injury during his writing process came to significantly impact the instrumentation and tone of his final score.ANNOTATED TRACKS AND SEGMENTS02:21- "Pure Water Opening"03:35 - "Sway Lake (Big Band Version)"05:48 - "Blood in the Water"06:52 - "Dust"07:23 - "Hidden in the Attic"09:39 - "Ghost in the Mirror"10:14 - "Sway Lake Finale"12:40 - "Sway Lake (Lost Record Version)15:57 - "Orphan Finale"SOUNDTRACKThe original soundtrack was release on September 21, 2018 by Lakeshore Records. The score is available on Amazon.com , itunes, and streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Ethan Gold at his official site https://ethangold.com/ or follow him on twitter @ethangoldABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed

The DFC is back to soundtrack your life with even more killer cuts. Join T.G for episode 113 of The Damn Fine Cast. Featuring cuts from WRWTFWW, Lakeshore Records, Data Airlines, Lighten Up Sounds + More The Damn Fine Cast is brought to you by www.filmmusicdaily.com

Join host Tony Giles as he chats candidly with legendary composer Fabio Frizzi about his recent score for Puppet Master: The Littlest Reich. The score for Puppet Master: The Littlest Reich is available now through the Lakeshore Records web-shop: https://www.lakeshorerecordsshop.com/product/puppet-master-the-littlest-reich-toulon-s-bloody-revenge-vinyl-fabio-frizzi

Join host Aaron Vehling as he chats with Cliff Martinez about his latest masterpiece Hotel Artemis - Available now through Lakeshore Records on Digital Download and Vinyl through our partners Invada Records. https://www.lakeshorerecordsshop.com

The DFC returns! Join T.G for episode 110 of The Damn Fine Cast. Featuring cuts from: Spun Out Sounds, Lakeshore Records, Data Discs, Toxic Toast Records & more. The Damn Fine Cast is brought to you by www.filmmusicdaily.com

传统武术是否真的一无是处？他们内部如何看待传统武术的实战性？本期《忽左忽右》，兼习太极、形意、八卦多门拳种的杨华及其师妹东来，为大家带来他们对于传统武术在今日的意义。 【主持】 程衍樑（新浪微博：@GrenadierGuard2） 杨一（新浪微博：@杨一1） 【嘉宾】 杨华、东来 [03:00]记者因《一代宗师》而接触武术 [07:20]杨露蝉对于推广太极功不可没 [08:30]晚清善扑营教练出自杨氏太极 [14:25]虹口公园一度是上海拳术的胜地 [16:10]大众对于传统武术存在太多误解 [17:10]打架是不可能气定神闲的 [21:00]中国武术中的80%其实是兵器格斗 [21:45]形意拳脱胎于军阵，八卦掌起于江湖 [23:40]太极拳往细节处下功夫，近于艺术 [30:30]古代的师徒考验有其合理意义 [37:10]传统武术很适合业余爱好者修习 [37:40]传统武术的错误练习方式容易伤及习武者 [41:20]60年代普查的一千个拳种如今仅余一百 [44:25]沧州老武师感慨孩子们都不愿意下苦功练了 [47:30]霍元甲的迷踪义已经失传 [49:10]杨华认为太极应该向咏春学习如何适应当代社会 [51:10]“拳来脚往”是大众对武术的误解 [52:55]“你们能看到的大师，往往真不了” [58:45]普通人接触传统武术前可以先学习搏击 【音乐】 "醉拳"（成龙·醉拳II 电影原声带·1994·滚石唱片） "Main Theme II - Dreaming of the 64 Hands"（Shigeru Umebayashi·The Grandmaster (Original Score)·2014·Lakeshore Records） 【logo设计】杨文骥 【收听方式】 推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本节目由JustPod出品】 【互动方式】 微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右 微信公众号：播客一下