Podcasts about soundworks collection

The BTS team explores J.J. Abrams' ambitious reboot/sequel/prequel of the Star Trek franchise: the emotionally charged opening sequence, the recasting of the original show's iconic characters, and how J.J. tried to turn classical music into rock and roll.

Sound Of Metal with Supervising Sound Editor Nicolas Becker in conversation with Michael Coleman of SoundWorks Collection. Sound of Metal is a 2019 American drama film directed and co-written by Darius Marder and starring Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff and Mathieu Amalric. It tells the story of Ruben, a drummer and one half of the duo Blackgammon along with his singer girlfriend Lou. A former drug addict, he is sober for four years. Suddenly, he begins to lose his hearing. His sponsor makes him go meet Joe, who leads a deaf community. With the help from them, Ruben struggles to accept his situation. The film had its world premiere in the Platform Prize program at the 2019 Toronto International Film Festival on September 6, 2019. It will be released theatrically on November 20, 2020, and streaming on Prime Video on December 4, 2020, by Amazon Studios.

In season 3, the Emmy-award winning Westworld leaves the parks behind for the sounds of the “real” world, circa 2057. In this episode, the sound team behind the remarkable show discusses showrunner Jonah Nolan’s design concept that noise-reduction technology has progressed to the point that the world seems quiet and peaceful...until the climactic end when all technology fails and the world devolves into chaos. The conversation also includes a discussion of mixing the show natively in Dolby Atmos, and the challenges of finishing postproduction as the world went into Covid-19 lockdown. Susan Cahill — Supervising Sound Editor Benjamin Cook — Sound Designer/Re-recording Mixer Keith Rogers — Re-recording mixer SUBSCRIBE NOW: bit.ly/Subscribe_Dolby LEARN MORE: dolbylabs.co/33NNrgw About Dolby: Dolby transforms the science of sight and sound into spectacular experiences. Through our innovative research and engineering, we develop breakthroughs that we share with the world through collaborations that span artists, businesses, and consumers worldwide. These breakthroughs deliver incredibly vivid experiences in the cinema, at home, at work, and on the go — experiences so lifelike that people feel as if they’ve been transported into a cinematic story or a pulsing sphere of music, a distant conference room or an action-packed game. In both entertainment and communications, through audio and imaging, we give everyone the power to see, hear, and feel the spectacular. Full video discussions will be on Dolby Youtube page and audio podcasts will be featured on our website or the SoundWorks Collection channels on Apple Podcasts, Soundcloud, Stitcher and Spotify!

Bonnie Wild, the sound effects editor and re-recording mixer of Disney+’s hit show The Mandalorian, takes us behind the scenes for a conversation about achieving cinematic scale and production value on a television budget, balancing the palette of new sound creation with classic Star Wars sounds we all know and love, why mixing in a home theater environment was important for the show, and how to do a Jawa loop group session. It is the first live action series in the Star Wars franchise. Set five years after the events of Return of the Jedi and 25 years prior to the events of The Force Awakens, it follows the title character, a Mandalorian bounty hunter named Din Djarin, and his exploits beyond the reaches of the New Republic. ⁣June 18: THE MANDALORIAN⁣ ⁣June 25: WESTWORLD⁣ ⁣July 2: MINDHUNTER⁣ ⁣July 9: OZARK⁣ ⁣July 16: LOCKE & KEY⁣ ⁣July 23: UNORTHODOX⁣ ⁣July 30: DEVS⁣ ⁣August 6: Dolby Vision Roundtable⁣ Full video discussions will be on Dolby Youtube page and audio podcasts will be featured on our website or the SoundWorks Collection channels on Apple Podcasts, Soundcloud, Stitcher and Spotify!

SoundWorks Collection was started in 2009 with the simple goal to profile the greatest and upcoming sound minds from around the world and highlight their contributions. Over the past decade we have had the incredible honor to meet hundreds of sound artists and help share their incredible stories. We are excited for the future and thank the worldwide sound community for the ongoing support! In this special 90-minute conversation, SoundWorks Collection founder Michael Coleman chats with friend and longtime collaborator Michael Tucker (Lessons from the Screenplay) and discuss how it all started.

In this exclusive SoundWorks Collection conversation, we chat with the sound team behind Director Quentin Tarantino's film, Once Upon a Time in Hollywood. Featuring Production Sound Mixer Mark Ulano, Supervising Sound Editor Wylie Stateman and Re-Recording Mixer Michael Minkler!

Now this company is always going behind the scenes to give you the scoop with what is happening with popular movies. From Need for Speed to the Hobbit you can always bet to get the insider look of how the sound and visuals all came to life. But today, we get to bring on the creator of Soundworks and listen in to how he put it altogether. For more information from Soundworks Collection visit, http://soundworkscollection.com

The Sound of First Man motion picture soundshow featuring Director Damien Chazelle, Re-recording Mixer/Sound Designer/Supervising Sound Editor Ai-Ling Lee, Supervising Dialogue Editor Susan Dawes and Re-recording mixers Jon Taylor and Frank A. Montaño. Featuring special sound breakdown sequences including the X15 flight, Gemini Rocket walk-up and launch and Neil Armstrong moon walk dialogue. Recorded on December 18, 2018 on the Hitchcock Mixing Stage at Universal Studios and moderated by Michael Coleman from SoundWorks Collection

In this exclusive SoundWorks Collection podcast episode we chat with the sound team of the box office hit comic-book villain tale of Venom. Featuring Kami Asgar - Supervising Sound Editor, Will Files - Re-recording Mixer and Supervising Sound Editor and Robby Stambler - Sound Design.

In this exclusive SoundWorks Collection podcast we talk with the sound and music team of Director Spike Lee's new film BlacKkKlansman including Composer Terence Blanchard, Re-recording Mixer Tom Fleischman and Sound Mixer Drew Kunin. It’s the early 1970s, a time of great social upheaval as the struggle for civil rights rages on. Ron Stallworth (John David Washington) becomes the first African-American detective on the Colorado Springs Police Department, but his arrival is greeted with skepticism and open hostility by the department’s rank and file. Undaunted, Stallworth resolves to make a name for himself and a difference in his community. He bravely sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan. Posing as a racist extremist, Stallworth contacts the group and soon finds himself invited into its inner circle. He even cultivates a relationship with the Klan’s Grand Wizard, David Duke (Topher Grace), who praises Ron’s commitment to the advancement of White America. With the undercover investigation growing ever more complex, Stallworth’s colleague, Flip Zimmerman (Adam Driver), poses as Ron in face-to-face meetings with members of hate group, gaining insider’s knowledge of a deadly plot. Together, Stallworth and Zimmerman team up to take down the organization whose real aim is to sanitize its violent rhetoric to appeal to the mainstream.

The incredibly hard-working and dedicated man of the hour this week is James Sieczka (though most people know him as "Jimmy", or "Sound Guy"). In this interview, we dive into how James got into sound in the first place, and all the knowledge he's picked up along the way in his impressive career. Working on shows like Naked and Afraid, Ice Holes, Cars the Rock with Brian Johnson, as well as movies like The Taking of Deborah Logan, Jimmy has found many ways to go above and beyond in his craft. He shares some of his techniques and philosophy about not just surviving in the business, but thriving in it. James' IMDb Page: https://www.imdb.com/name/nm2121437/?ref_=fn_al_nm_1 Location Sound Podcast Interview: https://itunes.apple.com/us/podcast/location-sound-podcast/id1400611002?mt=2&i=1000415047925 Rycote Interview: https://rycote.com/microphone-windshield-shock-mount/interview-with-james-sieczka/ Soundworks Collection on Youtube: https://www.youtube.com/channel/UC6TvQhkgwxw_KAJgFKWR3 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this exclusive SoundWorks Collection podcast we talk with the sound and music team of The Handmaid's Tale. We chat with Supervising Sound Editor Jane Tattersall, Dialogue Supervisor David McCallum, Re-recording Mixer's Lou Solakofski and Joe Morrow and Composer Adam Taylor. Now playing on Hulu, based on the best-selling novel by Margaret Atwood, this series is set in Gilead, a totalitarian society in what used to be part of the United States. Gilead is ruled by a fundamentalist regime that treats women as property of the state, and is faced with environmental disasters and a plummeting birth rate. In a desperate attempt to repopulate a devastated world, the few remaining fertile women are forced into sexual servitude. One of these women, Offred, is determined to survive the terrifying world she lives in, and find the daughter that was taken from her.

In this exclusive SoundWorks Collection podcast conversation we chat with Composer Wilbert Roget II about his work on Call of Duty WWII and discuss the unique creative challenges of writing music for video games, his extensive career working as a video game composer and how he landed the project from a conversation at GDC. ABOUT WILBERT ROGET II: Wilbert Roget, II is a veteran composer in the video game industry. He joined LucasArts as a staff composer in 2008, where he scored several games in the Star Wars universe, including Star Wars: The Old Republic and Star Wars: First Assault. He later became a freelance writer, scoring Call of Duty: WWII, Guild Wars 2: Path of Fire, Lara Croft and the Temple of Osiris, Dead Island 2, Anew: The Distant Light and other indie and AAA titles. His scores have earned him several awards and nominations from the Game Audio Network Guild, the Academy of Interactive Arts and Sciences (D.I.C.E. Awards), and others. Roget also co-founded Impact Soundworks, a successful music software company, and is an accomplished lecturer on game music, giving talks at the Game Developers Conference, SF Conservatory of Music, Yale University and other institutions. He frequently gives online masterclasses and tutorials on music composition and production, and has a passion for teaching the craft. Inspired at an early age by classic Japanese game soundtracks, Roget specializes in writing music that employs memorable themes, developed throughout the score in a traditional fashion. He balances modern production with classic construction, creating fresh and contemporary soundscapes as well as nuanced orchestrations. Wilbert studied music at Yale University, is originally from Philadelphia, PA and currently resides in Seattle, WA. He is an avid multi-instrumentalist, performing solo flute, keyboards, accordion and guitar on many of his scores. Roget is an ASCAP-affiliated composer and a member of the Game Audio Network Guild, and is represented by Cheryl Tiano of The Gorfaine-Schwartz Agency.

In this exclusive SoundWorks Collection podcast, we talk with the sound team behind Director Guillermo del Toro's latest film, The Shape of Water. Featuring re-recording mixers Christian Cooke and Brad Zoern, supervising sound editors Nelson Ferreira and Nathan Robitaille. Elisa is a mute, isolated woman who works as a cleaning lady in a hidden, high-security government laboratory in 1962 Baltimore. Her life changes forever when she discovers the lab's classified secret -- a mysterious, scaled creature from South America that lives in a water tank. As Elisa develops a unique bond with her new friend, she soon learns that its fate and very survival lies in the hands of a hostile government agent and a marine biologist.

In this exclusive conversation, sound designers Craig Henighan and Will Files share their experiences creating sound for such films as "Mother!," "Stranger Things," "Deadpool," and "War for the Planet of the Apes" among others. Moderated by Michael Coleman of SoundWorks Collection at the 2017 Savannah Film Festival.

Sound Designer and Supervising Sound Editor Erik Aadahl recently joined Michael Coleman of SoundWorks Collection on Friday, October 29, at the Savannah Film Festival, where sound-savvy SCAD students and intrigued festivalgoers packed the SCAD Museum of Art theater as Aadahl discussed his work on such films as Transformers, Godzilla, Kung Fu Panda, Argo, and Tree of Life. This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. Find out more at www.thx.com

This week we are featuring the 2016 Mix Magazine Presents Sound for Film event hosted at Sony Pictures Studios in Culver City. This event focused on a theme of “The Merging of Art, Technique and Tools”. In this weeks episode we are featuring re-recording mixer Gary Bourgeois, who delivered the keynote speech to open the special film sound event. Gary's list of credits ranges from the music documentaries early in his career, to Pretty in Pink, Back to School, Ghostbusters II, Benny and Joon, Dolores Claiborne and a host of major film credits through the 1980s, 1990s, 200s and on to the present day. He has mixed a variety of television productions, from series to made-for TV movies. Stay tuned for additional exclusive panel discussions that we will be featuring on the podcast from this years Mix Magazine Presents Sound for Film event. You can hear more conversations with sound designers, composers and directors on the SoundWorks Collection podcast on iTunes and streaming online at www.SoundWorkscollection.com

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

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

In this exclusive SoundWorks Collection interview we talk with the sound team at PullString, an entertainment and technology company that combines art and science to enable computer conversation with characters. We discuss their conversational entertainment products including Humani: Jessie’s Story, available on Facebook Messenger, Talking Barbie, and ToyTalk family entertainment apps The Winston Show, SpeakaZoo, SpeakaLegend, and SpeakOrTreat.

In this exclusive SoundWorks Collection interview we talk with the sound team of Director Dan Trachtenberg's film, 10 Cloverfield Lane including Supervising Sound Editor Robert Stambler, effects sound re-recording mixer Will Files and dialogue and music sound re-recording mixer Lindsey Alvarez. In our discussion we explore key sound scenes including the opening title sequence, alien creature vocals and ship by’s and how the sound and music team achieved a sense of confinement for the films characters.

In this exclusive SoundWorks Collection interview we talk with Supervising Sound Editor Scott Hecker about his work on Director Zack Snyder's Batman v Superman: Dawn of Justice. Scott breaks down how the sound team created new sounds for the Batmobile, Batwing, Wonder Women, Aquaman, Flash, Doomsday, and Superman.

In this exclusive SoundWorks Collection interview we talk with music and dialogue Sound Re-recording Mixer Paul Massey about his work on Director Ridley Scott's The Martian. The final mix was completed at Twickenham Studios in London and music was recorded and mixed by Peter Cobbin at Abbey Road Studios for Composer Harry Gregson-Williams. Paul also discusses working with editor Pietro Scalia and sound designer/supervising sound editor Oliver Tarney to craft the multiple futz and radio instances throughout the film.

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

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

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

Skywalker Sound’s Director of Sound Design Randy Thom discusses with Dolby Institute’s Glenn Kiser how writers and directors can use sound as a tool to tell their stories, the importance of APOCALYPSE NOW to modern sound design, his work with Robert Zemeckis to maroon Tom Hanks on an island in CAST AWAY with no music or wildlife sounds, and what’s wrong with the current state of sound for animated films. About "Conversations with Sound Artists" Podcast: Sound is an art and a craft that many people appreciate but that few know much about. The Dolby® Institute and the SoundWorks Collection collaborated on a limited series of 10 podcasts that take an in-depth look at different aspects of the sound process, including sound design for writers, dialogue editing, and sound design for games. In each episode, the artist talks with the Dolby Institute's Glenn Kiser and SoundWorks Collection's Michael Coleman about the challenges and opportunities the artist faced while building the soundscapes you enjoy. We'll introduce you to one sound artist per week over the next few months. In keeping with Dolby’s history of supporting artists, Dolby Institute engages and empowers artists by providing education, inspiration and support throughout the creative process. With this podcast series, Dolby Institute hopes to empower next generation content creators and help unlock the power of sound and image technologies to help tell their stories. Learn more about the Dolby Institute: www.dolby.com/us/en/dolby-institute/podcasts.html

In this exclusive SoundWorks Collection video we talk with Tabitha Jackson, Director of the Sundance Institute's Documentary Film Program, Randy Thom, Director of Sound Design at Skywalker Sound and Composer and Sundance Creative Advisors Todd Boekelheide and Miriam Cutler. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries is a joint initiative of the Film Music Program and Documentary Film Program.

In this exclusive SoundWorks Collection sound profile we talk with Director Brett Morgen and his sound team including sound designer and re-recording mixer Cameron Frankly and sound and music editor Jon Michaels about their work on the documentary Kurt Cobain: Montage of Heck which is moderated by Michael Coleman from SoundWorks Collection. Kurt Cobain, legendary lead singer, guitarist and songwriter of Nirvana, “the flagship band of Generation X,” remains an object of reverence and fascination for music fans around the world. His story is told for the first time in KURT COBAIN: MONTAGE OF HECK, a fully authorized feature documentary co-produced by HBO Documentary Films and Universal Pictures International Entertainment Content Group. Brett Morgen, the Oscar®-nominated filmmaker behind such acclaimed documentaries as the HBO presentations “Crossfire Hurricane,” which celebrated the 50th anniversary of the Rolling Stones, and “The Kid Stays in the Picture,” is writer, director and producer of KURT COBAIN: MONTAGE OF HECK. Visual artist Frances Bean Cobain, Cobain’s daughter, is executive producer.

Bay Area based engineer and producer Chris Dugan talks with the SoundWorks Collection about his road to Jingle Town Studios. We talk about his journey as a small studio owner to recording the grammy winning Green Day album American Idiot. Chris also talks about an unreleased Green Day holiday album and his perspective on recording albums with different size budgets.

Episode 61 - Star Man Trekking into Dark, Iron Oblivionness Michael Coleman (Soundworks Collection) and Kristen Romanelli (Film Score Monthly/ Watcher Junior) join the full cast and crew for a triple feature review! Three of this year's top action and sci/fi films are the topics of discussion: Michael Giacchino's STAR TREK INTO DARKNESS, Brian Tyler's IRON MAN 3 and M83 + Joseph Trapanese's OBLIVION. Episode Highlights 00:22 - Intro and Welcome: Michael Coleman and Kristen Romanelli 04:48 - Listener Feedback 07:40 - Star Trek Into Darkness - Movie talk 27:56 - Star Trek Into Darkness - Score in the film 38:15 - Star Trek Into Darkness - The soundtrack release 46:09 - Iron Man 3 - Movie talk 56:54 - Iron Man 3 - Score in the film 65:55 - Iron Man 3 - The soundtrack release 73:43 - Oblivion - Movie talk 80:49 - Oblivion - Score in the film 86:40 - Oblivion - The soundtrack releases 94:43 - Wrapping up the triple feature Music Selections 00:00 - "Star Trek Main Theme" (Star Trek Into Darkness) by Michael Giacchino 07:11 - "Pranking the Natives" (Star Trek Into Darkness) by Michael Giacchino 28:19 - "Spock Drops, Kirk Jumps" (Star Trek Into Darkness) by Michael Giacchino 32:37 - "Main Title" (Star Trek 2 - The Wrath of Kahn) by James Horner 33:32 - "London Calling" (Cloud Atlas) (Star Trek Into Darkness) by Michael Giacchino 35:27 - "Get Carter" (John Carter) by Michael Giacchino 42:15 - "The San Fran Hustle" (Star Trek Into Darkness) by Michael Giacchino 44:18 - "Star Trek Main Theme" (Star Trek Into Darkness) by Michael Giacchino 46:08 - "Iron Man 3 Main Theme" (Iron Man 3) by Brian Tyler 59:18 - "The Mechanic" (Iron Man 3) by Brian Tyler 64:25 - "Stark Goes Green" (The Avengers) by Alan Silvestri 65:00 - "New Beginnings" (Iron Man 3) by Brian Tyler 66:15 - "Iron Man 3 Main Theme" (Iron Man 3) by Brian Tyler 73:23 - "Waking Up" (Oblivion) by M83 and Joseph Trapanese 80:58 - "Fearful Odds" (Oblivion) by M83 and Joseph Trapanese 87:14 - "You Can't Save Her" (Oblivion) by M83 and Joseph Trapanese 99:00 - "Earth 2077" (Oblivion) by M83 and Joseph Trapanese Other notes: Michael Coleman Check out Soundworks Collection www.soundworkscollection.com Follow on Twitter (@soundworksvideo, @colemanfilm) Kristen Romanelli Read her articles on Film Score Monthly Only - www.fsmonlinemag.com Follow on Twitter (@watcherjunior) Download the Episode Subscribe and More Info