Podcasts about World Soundtrack Awards

WARNING: This episode contains major spoilers for Slay the Princess, so listen at your own risk if you have not yet played the game!Every now and again at Rhythm Encounter, we have the chance to bring on a special musical guest. For today's episode, RPGFan Music editor Patrick Gann sits down with Brandon Boone, composer for the indie visual novel hit Slay the Princess. The interview includes Brandon's insights and reflections on the process of building the game's score from the ground up, then expanding the soundtrack for its newer form, The Pristine Cut. Brandon also provides some interesting background information on how he got his start in music, his ties to studio Black Tabby Games (Abby Howard & Tony Howard-Arias), and his recent win at the World Soundtrack Awards!Featuring: Patrick Gann, Brandon Boone, Mike Salbato; Edited by Jonathan LoganTracklist0:24:13 - The Princess (Brandon Boone) - Slay the Princess Original Soundtrack0:40:44 - The Shifting Mound Movement V (Live) (Brandon Boone) - Slay the Princess Live1:23:26 - Brandon's Bonus Track! House of Woodcock (Johnny Greenwood) - Phantom Thread Original Motion Picture SoundtrackAlbum links for places to buy, stream, and more are available in our post on RPGFan.Get in Touch:RPGFan.comRPGFan ShopEmail us: music@rpgfan.comTwitter: @rpgfancomBluesky: @rpgfan.bsky.socialInstagram: @rpgfancomThreads: @rpgfancomFacebook: rpgfancomTwitch: rpgfancom

Live podcast recording with composer Colin Stetson from Film Fest Gent and the World Soundtrack Awards in Belgium. Composer and musician Colin Stetson is a nominee for the WSA Discovery of the Year Award, and sits down with Robert Kraft to talk about how he keeps his music fresh, his musical mind healthy and his performing career exciting. They also discuss his recent work, including THE MENU and HEREDITARY. Recorded on location by Film Fest Gent in front of a live audience in October 2023.

Grammy-nominated and two-time BAFTA-winning composer Austin Wintory returns to SCORE for a special episode with SCORE's Robert Kraft. Austin breaks down plans for the game music segment he's curating for this year's World Soundtrack Awards in October, and explains working on games for people who don't know yet they love games.

Composer Daniel Hart and director David Lowery talk about the upcoming World Soundtrack Awards in Ghent, their musical collaboration and workflow on THE GREEN KNIGHT and how they met, other projects currently in the works, and even vegan French fries. Interviewed by Robert Kraft, only on MORE SCORE. THEN: Around the 45:00 mark, Robert and Carol Kuswanto catch us up on the nominees for the World Soundtrack Awards, and what to look for in October!

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. Natalie Holt is a multi-award-winning British composer, known for her Emmy-nominated score for Marvel Studios' Loki and the acclaimed Lucasfilm series Obi-Wan Kenobi. Upcoming projects include DC's Batgirl. Her film and television credits include the BAFTA Award-winning series Wallander (BBC), Knightfall (History Channel), the BAFTA Award-winning series Three Girls (BBC), mini-series Deadwater Fell, the Emmy Award-nominated series The Honourable Woman (HBO Max), Victoria (PBS), Saul Dibb's World War I feature Journey's End, Netflix/Claudia Llosa's drama feature Fever Dream, and Fox's female super hero feature The Princess, to name just a few. Natalie's numerous awards nominations and wins include the Primetime Emmy Awards, World Soundtrack Awards' “Television Composer of the Year”, BAFTA, SCL Awards, the Royal Television Society Craft and Design Award, the HMMAs, and “Best International Score” at the Beijing International Film Festival. Hesham Nazih is an award-winning and Emmy-nominated Egyptian composer best known for his unique style that interweaves a mix of melodies from different cultures, creating an authentic genre all his own. He has scored over 40 award-winning films that have dominated the Egyptian box-office such as director Marwan Hamed's musically-intense horror features Blue Elephant and Blue Elephant: Dark Whispers, as well as director Tarek Alarian's Sons of Rizk 1-2, his breakthrough score for Snakes and Ladders, as well as Marwan Hamed's Ibrahim Labyad. Nazih marked his first major English language project with his Emmy-nominated score for Marvel Studios' Moon Knight on Disney+, for which he was also invited to become a member of The Television Academy. He has also composed for critically acclaimed Egyptian television works including The Seven Commandments and Shahid's first original Egyptian series Every Week Has a Friday, which earned Egypt its first-ever International Emmy nomination. Among Nazih's other most notable works, he earned both international attention and acclaim for his original music and songs written for the lavish live production The Pharaohs' Golden Parade in 2021, and he is the first and only composer to ever receive the honorary Faten Hamama Excellence Award from the 2018 Cairo International Film Festival.

Hamish Duff is a talent agent working for First Artists Management (FAM), managing its UK and European business representing composers and music supervisors for film, television, and video games. Its roster includes: Carter Burwell, Vangelis, Craig Armstrong, Rolfe Kent, Anne Chmelewsky, Clark, Hannah Peel, Blanck Mass, Dan Deacon, Emily Rice and many others. FAM recently launched its own record label to further serve the specific needs of its clients. The first release was BBC Back To Life Soundtrack the first release (Joe Wilson of Solomon Grey fame) and the artist debut from rising star Emily Rice. Key FAM roster activity from late 2021: Ivors Best Original Film Score win for Blanck Mass. Mercury nom for Hannah Peel. FAM record label launched Sept. Management signings include Eimear Noone (Ivor nominated 2021), Gazelle Twin and Orbital. Featured at film festivals with soundtrack premieres from FAM clients include Toronto and Venice / composers Alex Baranowski, CJ Mirra, Paul Saunderson. Several client soundtrack debuts at the BFI London Film Festival in October. Oct also saw noms at the World Soundtrack Awards with Benji Merrison winning people's choice. And so much more! Prior to joining FAM, Hamish had his own business, Blue Top Music, providing artist and composer management. He's also worked as a sync consultant, promoter and tour manager. https://www.firstartistsmanagement.com/ https://www.instagram.com/first_artists_management/?hl=en https://twitter.com/FAM_agency https://www.linkedin.com/company/first-artists/ https://twitter.com/bluetopmusic https://www.linkedin.com/in/hduff/ https://www.imdb.com/name/nm5229914/ Get in touch with me via: behindthebusinesspod@gmail.com https://www.dcmusicpublishing.co.uk https://www.instagram.com/dcmusicpublishing https://twitter.com/dannychampion

Robert and Kenny begin the show discussing the nominees for the 2021 World Soundtrack Awards, including many former guests and friends of the show. Kenny also shares why Blake Neely had an exciting and unexpected surprise while watching the Tokyo Olympics over the weekend.   Subscribe to MORE SCORE on Patreon for year-round interviews, film music talk and even cool merch: http://Patreon.com/MoreScore Later, Emmy-nominated composer Rupert Gregson-Williams (Aquaman, Wonder Woman, Hacksaw Ridge, Veep, Catch 22, The Crown, Behind Her Eyes and more) joins the show sharing his early stories of growing up with his brother and fellow A-list composer Harry and why they only recently collaborated on a project after many years of success as solo composers, detailing why a particular cue on The Crown was his most challenging job to date, and revealing why Adam Sandler prefers to skip spotting sessions on his films. This episode is presented by Spitfire Audio Follow us on Twitter @ScoreThePodcast or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2021 Epicleff Media --- Support this podcast: https://anchor.fm/score/support

Ahead of Friday's #One2ThreeShow I caught up with London based, French composer for stage and screen Anne Chmelewsky. Anne's composition credits include Ricky Gervais' DEREK (Netflix) and BAFTA-winning director Amma Asante's feature film WHERE HANDS TOUCH, for which Anne was nominated for ‘Discovery of the Year' at the 2019 World Soundtrack Awards. Anne recently composed the music for the 007 No time to Die x Nokia spot and a star-studded Coronavirus vaccine advert that featured Sir Lenny Henry! We talked about where the film composer joins in the process of film making, a musical gift for a struggling friend that spawned a new album and how sometimes music can say what words can't. Anne introduced three of her own stunning tracks and even shared an ingenious new way of washing your clothes without a washing machine! For the full interview click play in the box below. For the music you'll have to tune in to Phoenix FM on Friday 21st May

Here is the new episode of The Interview Series on the MULTI-MEDIA MEN podcast network, where the show is related to all things Movies, Music, and Entertainment! Here on this new episode, host Bryan Kluger from Boomstick Comics, High Def Digest, and Screen Rant, join in on the fun. Our Feature Presentation this episode is a wonderful talk with composer/musician - BENJAMIN WALLFISCH! About Benjamin Wallfisch: Composer of Andy Muschietti's IT and IT Chapter 2, David F. Sandberg's SHAZAM!, Leigh Whannell's THE INVISIBLE MAN and co-composer of Denis Villeneuve's BLADE RUNNER: 2049 (with Hans Zimmer), Benjamin Wallfisch has worked on over 75 feature films and received Golden Globe, BAFTA, 2x GRAMMY and EMMY nominations for his work.  He is currently scoring Simon McQuoid's MORTAL KOMBAT for New Line/Warner Bros and was recently nominated as 'Film Composer of the Year' in the World Soundtrack Awards for the second consecutive year. To date, the movies he has scored have made over $2.5 billion in worldwide box office receipts, and in 2019 Variety inducted him into their ‘Billion Dollar Composer' series in recognition of this. Other recent projects include Academy Award Best Picture nominee HIDDEN FIGURES, directed by Ted Melfi (in collaboration with Pharrell Williams and Hans Zimmer) and David F. Sandberg's box office hits ANNABELLE: CREATION and LIGHTS OUT. On the invitation of Zimmer, he wrote 'Variation 15', based on Elgar's 'Enigma' Variations, for Christopher Nolan's DUNKIRK. In recent years, Benjamin has also scored Gore Verbinski's A CURE FOR WELLNESS, the Steven Spielberg produced the short film AUSCHWITZ, directed by James Moll, KING OF THIEVES, starring Michael Caine and directed by James Marsh; and Steven Knight's SERENITY, starring Matthew McConaughey and Anne Hathaway. He also recently completed scoring HOSTILE PLANET, a six-part series for National Geographic. With over 25 albums of his music released to date on labels including Deutsche Grammophon and Epic Records, Benjamin has performed live in over 100 concerts worldwide, leading orchestras such as the London Philharmonic, Philharmonia, Los Angeles Philharmonic, Los Angeles Chamber Orchestra, and the Sydney Symphony at venues including the Hollywood Bowl, Sydney Opera House, and Royal Festival Hall. He has collaborated, recorded, and performed his music with artists including Lang Lang, Herbie Hancock, and Yuja Wang, and has over 50 concert music commissions to his name. He has also collaborated three times with Pharrell Williams, including a live performance at the 2015 GRAMMY Awards, and recently partnered with Adele, arranging her 2017 GRAMMY performance of George Michael's 'Fast Love'. A member of the BAFTA® Academy since 2009, Benjamin was appointed an Associate of the Royal Academy of Music, London in 2014. In 2017, he was invited to join the Academy of Motion Picture Arts and Sciences.   Benjamin and I start the show with origin stories, how he got into music and playing piano and his transition from classical to film composing was accomplished. We move onto his work in horror films, his friendship with Hans Zimmer, and even talk about his grandmother, who has an incredible journey and tale of music and history. Then, of course, we get into the fun questions. Enjoy the show! VISIT BENJAMIN WALLFISCH HERE And don't forget to visit iTunes , Stitcher , I Heart Radio, and Spotify to subscribe to our podcast. You can also email us at mybloodypodcast@gmail.com. Enjoy the show and see you next week! Thank you for listening. https://boomstickcomics.com/wp-content/uploads/2021/03/ben-wallfisch.mp3

If you want excellence, look no further. Angelo Badalamenti is a world class composer, who has worked in the medium of both film and television. In 1990, he received a Grammy for best pop instrumental performance for composing the theme to David Lynch's Twin Peaks series. Included among his other accolades is ASCAP's Henry Mancini Award and a prestigious lifetime achievement prize from the World Soundtrack Awards. His credits include scores for innovative films such as Blue Velvet, Wild at Heart, The Straight Story, and Mulholland Drive. 

Daniel Pemberton is the featured guest on this Score to Screen podcast. The Enola Holmes composer provides a glimpse into how he crafted the sweeping, melodic score for the film by integrating themes based off the playfulness of characters and their exciting adventures. Streaming now on Netflix, Enola Holmes is based on the series of young adult novels written by Nancy Springer. When Enola Holmes (Sherlock's teen sister) discovers her mother missing, she sets off to find her, becoming a super-sleuth in her own right as she outwits her famous brother and unravels a dangerous conspiracy around a mysterious young Lord. Starring Millie Bobby Brown, Sam Claflin, Fiona Shaw and Louis Partridge with Henry Cavill and Helena Bonham Carter. Directed by Harry Bradbeer, Enola Holmes is produced by Mary Parent, Alex Garcia, Ali Mendes, Millie Bobby Brown, and Paige Brown, and written by Jack Thorne. Daniel Pemberton is a multi-Golden Globe, Emmy and BAFTA Award-nominated composer who has been regularly cited as one of the most exciting and original new voices working in modern film scoring today. Constantly working with some of the most renowned names in the industry Pemberton has already scored projects for the likes of Danny Boyle (Steve Jobs, Yesterday), Ridley Scott (All The Money In The World, The Counsellor), Aaron Sorkin (Molly's Game, The Trial of The Chicago 7), and Darren Aronofsky (One Strange Rock). He has received Golden Globe nominations for his mix of opera and electronics to Danny Boyle's Steve Jobs, his modern neo-noir jazz score to Edward Norton's Motherless Brooklyn as well as one for Best Original Song – performed and co-written by Iggy Pop – for the Stephen Gaghan film Gold. He was recently nominated for an Emmy for his work on the groundbreaking "USS Callister" episode of Black Mirror for Netflix. He was previously honored as Discovery of The Year at the World Soundtrack Awards in 2014 and nominated as Composer of the Year in 2016. His most recent projects include Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn, Rising Phoenix, The Trial Of The Chicago 7, Dark Crystal: Age of Resistance, and Spider-Man™: Into the Spider-Verse. The Score to Screen podcast series is produced and hosted by Crossover Media's Max Horowitz. Listen to the Enola Holmes Soundtrack here. Listen to the official Daniel Pemberton Spotify playlist here. To learn more about Sony Soundtracks visit: https://lnk.to/sonysoundtracksPD

While composer Michael Abels was awarded "Discovery of the Year" at the 2019 World Soundtrack Awards for his eerie, minimalist score for Jordan Peele's Us, he's hardly a fresh-faced up and comer. Before transitioning into film scoring, Abels was already an acclaimed orchestral and concert composer, having composed symphonies, ballets and operas for orchestras across the country. This history with classical music seemingly clashes with his unexpected, experimental work on the films of Jordan Peele, but in Cory Finley's Bad Education (premiering today on HBO), it allows him to return to a very familiar wheelhouse. Based on the true story of the largest fraud case in American public school history, Bad Education centers on the superintendent of a prestigious public school in upstate New York (a charming, complex Hugh Jackman), and the complex web of deceit, hidden desires, and lies resting just beneath the surface of his quest for excellence. Abels' score is lush, intimate, and reflective of Finley's uniquely arch approach to the material -- baroque, string-heavy requiems for forbidden love ("Eye Contact") clash with concert-band bombast that reflects Roslyn High School's razor-thin veneer of academic prestige ("Ave Noster Redemptor"). For Abels, it was a return to familiar forms, and he even mined his own history as an educator for inspiration. For The Spool, Abels sat down with us to talk about his score for Bad Education, how he gets into the mindset of the characters he scores for, and the complex dynamics of being a mixed-race composer in heavily white environments. He also talks us through the process behind crafting one of the score's cues, "Eye Contact", while performing it on the piano for us. You can listen to the full podcast above, and below listen to Abels' full score for Bad Education on Spotify (including the tracks he plays in the episode, "Eye Contact" and "Eye Contact -- Appassionato Alternate"). (More of a Comment, Really… is a proud member of the Chicago Podcast Coop. Thanks to Overcast for sponsoring this episode!)

In de nasleep van deze Halloween-week leidt La Classica u doorheen de enge scènes die binnen de filmmuziek wordt gebruikt. We kunnen niet beter starten dan met de Halloween-franchise die menig gezinnen ’s nachts heeft wakker gehouden. De muziek was ietwat gewaagd, door hoofdzakelijk de synthesizer te gebruiken als instrument. Toch klinkt het thema zo bekend in de oren. U krijgt de originele versie te horen uit 1978 naar de hand van John Carpenter. Stilaan verlaten we het Halloween tijdperk, maar blijf vooral op het puntje van jouw stoel zitten, want de spanning is te snijden tijdens de jungle trek in de film Predator. Ik zie het nog voor me dat ik als kleine jongen keek naar de recensie van Roel Van Bambost over deze angstaanjagende film. Roel heeft veel film en -muziekkennis en kan met zijn perfecte radio/televisie-stem een film als geen ander promoten en beschrijven. Hij beschreef de scene waarin het eerste contact met de Predator werd gemaakt als angstaanjagend realistisch. De prent is op zich al angstaanjagend, maar de muziek des te meer. Alan Silvestri heeft hier een echt meesterwerk op poten gezet. Je zal deze componist vaker terug horen deze avond met o.a. The Abyss en The Mummy Returns. In die laatste kan je het Oude Egypte in haar glorie herkennen via de muziek. Het achtergrondkoor, de drums, de trombones … vormen tezamen een geweldig mooi geheel die ons terugbrengt in de tijd van de Farao’s, waarin de priester Imothep de Farao’s bedroog en vermoordde. Hij werd als straf levend begraven en een vloek werd uitgesproken over hem. Het is die vloek die in de huidige tijd abrupt werd ontwaakt. Een enge film met veel humor voor jong en oud. Enge films of animatiefilms worden vaak ook luchtiger dankzij de muziek. Muziek is vaak heel bepalend voor de sfeer waarin een bepaalde scene zich afspeelt. Luister bijvoorbeeld mee naar “in on Seven” van de film Monsters inc, of ”As the Jurassic World turns” van de Jurassic World films. Dit zijn films, net als The Mummy, waar jong en oud kunnen naar kijken zonder echt nachtmerries te krijgen. De scores zijn dan ook luchtig en vaak met een rustgevende ondertoon. Maar let dan vooral op, want die rustgevende ondertoon kan soms een heel enge of plotse ommezwaai inluiden, waar je dan keihard van schrikt. Wees vooral op je hoede als de muziek plots stopt of als die veel te rustig is een scene waarin je weet … hier ga ik schrikken. Met Alien heeft regisseur Ridley Scott een waar meesterwerk gemaakt. De muziek voor de eerste film werd geschreven door Jerry Goldsmith. Hij is hiervoor zwaar uit zijn comfortzone moeten komen en dat resulteerde in een ongelooflijk succes. Een succes dat hij echter niet meer mocht herhalen in de vervolgfilms, maar het thema was wel gezet. Het is een vrij langdradige film, maar dat maakt de suspense des te groter. Het idee van een ruimtewezen dat gevonden werd in zijn cocon (ei) en gewekt werd door de nabijheid van de nieuwsgierige mens op een verlaten planeet was op zijn zachtst gezegd nieuw. De film was eerst aanzien als walgelijk en veel te realistisch. The Chestburst scene was ongezien en deed vele kijkers misselijk weglopen uit de bioscoopzalen. Als je nu terugkijkt naar de film zie je een soms wat amateuristisch gemaakte prent, maar beeld je eens in: een film uitgebracht in 1979, waarbij werkelijk alles op schaal werd nagebouwd en manueel – vaak met touwen – werd voortbewogen. Toen had men niet die computers om animatie e.d. mee te voorzien, laat staan photoshop. En we blijven nog kort even bij Aliens en Alien³. Beide vervolgfilms zijn telkens door andere componisten geschreven. Dus 3 componisten voor 3 films, telkens met elk hun eigen insteek en mooie score, terwijl de originele thematiek bleef. De reden waarom ik vandaag tweemaal James Horner zijn versie laat horen van de 2de film, genaamd Aliens is omdat het zo episch is. Het moet een ongelooflijk zware score zijn om te brengen in een orkest omdat het vaak lange stukken zijn op een heel hoog tempo. Met Bishop’s countdown heeft James echt een stuk geschreven dat tot op de dag van vandaag nog in vele trailers e.d. wordt gebruikt. Kan het nog enger? Absoluut wel! Laatst was ik op de World Soundtrack Awards in Gent waar de Poolse componist Krzysztof Penderecki terecht werd gelauwerd met een lifetime achievement award. Hij werd wereldbekend omwille van zijn wiskundige benadering van muziek en de daarbij horende klankcomposities. Hij heeft de filmwereld voorzien van de engste muziek/klanken die voor films ooit zijn gemaakt. Hij schreef de scores van ondermeer The Shining, Shutter Island, The Exorcist en nog vele andere films. Gezien het speciale karakter van deze muziek/klanken leek het me niet opportuun dit in de introductie speellijsten op te nemen, maar hem niet vernoemen – al zeker tijdens Halloween – zou hem oneer aandoen, want hij is waarlijk een groot man. Ook in 2018 was ik getuige hoe hij in Krakau werd gelauwerd voor zijn baanbrekende composities. Maak het donker bij enkele kleine schemerlichtjes van enkele kaarsjes … neem plaats in je sofa en druk je maar goed de rugleuning. Trek dat dekentje over je heen en bibber en beef op de tonen van Halloween. Geniet van je avond.

I Halloween-højtidens navn lægger denne episode ud med en anmeldelse af den nye animerede Familien Addams. Herefter forsøger Karoline lidt halvhjertet at styre sin fangirling, når Claus spørger ind til dette års World Soundtrack Awards i Gent. Det hele rundes af med to spændende afmeldelser af den danske Kollision, og en ordentlig omgang action, når det gælder Terminator Dark Fate.00:00 - 01:40 - Intro01:40 - 16:18 - Familien Addams 16:20 - 35:10 - Film Fest Gent - World Soundtrack Awards35:11 - 47:48 - Kollision47:48 -01:05:00 - Terminator Dark FateTak til Claus Nygaard Petersen, Morten Kildebæk, Lise Burmeister og Nikolaj Boesby SkouKlippet og tilrettelagt af Karoline Gaia Bjerregaard Balstrøm

We break down the final trailer for The Rise of Skywalker, ask 5 Golden Questions about some November Oscar contenders, review Monos & The Laundromat, plus stories about Ford V Ferrari, Rocketman, Waves, Netflix, and of course, Scorsese & Marvel. WHAT IS THIS EPISODE? - 2:00 OSCAR TRAILER REVIEW: Star Wars Episode IX Trailer #2 - 2:32 DEBUT OF 5 GOLDEN QUESTIONS explanation - 8:38 Question #1: Cynthia Erivo - 9:41 Question #2: Best Director - 11:46 Question #3: HoneyBoy - 15:13 Question #4: McKellan, Eddie, + Ferrari Boys - 16:45 Question #5: Jojo Rabbit - 18:48 CONTENDER NEWS: Ford vs Ferrari’s Dueling Leading Men - 21:37 Marvel vs Movie is Still a Thing - 25:23 World Soundtrack Awards Happened - 31:53 Waves Debut is Delicious - 33:45 Rocketman Pulling Out The Campaign Stops - 36:51 Marriage Story Playing Paris Theater NYC via Netflix - 40:05 Lina Wertmuller Getting Governor’s Oscar - 41:31 FILM FESTIVAL NEWS: The Two Popes Does Well - 43:18 (And What That Means for it and Other Contenders) News Tidbits - 48:52 MAKE THE CASE: The Laundromat - 50:20 Monos - 53:21 INDUSTRY NEWS: Oscar Screeners Are Later Than Ever - 56:26 Netflix May Have Serious Issues - 58:54 Your Homework/PLEASE LEAVE US 5*’S - 1:08:10 What’s Next From MMO/Words of Wisdom - 1:09:25 Just one Oscar Trailer in this checkpoint, but it’s a big one. We recap the recent Oscar success of the Star Wars saga and break down the final trailer for the final chapter of the Skywalker’s. Will Rey go to the dark side? Or will plot be secondary to our happiness of seeing all our friends together one last time? Then we’re excited to debut a new segment. We melded our MMO Weekly DYC theatrical release preview section with our Top 5 Burning Question shows to come up with 5 Golden Questions. Here, we wonder about the upcoming Oscar contending theatrical releases like Jojo Rabbit, Harriet, Honey Boy, The Good Liar, Waves, etc. It’s so much fun to speculate, and we do want to know your thoughts. So hit us up on social media with your theories. To continue this episode, we analyze all kinds of awards season news. Christian Bale AND Matt Damon will be campaigned as leads. The old hollywood cadre of directors have come to Scorsese’s back about Marvel. The World Soundtrack Awards may give us hints to who’s gaining momentum in this year’s Original Score category. Screenings for Waves, Rocketman, and Marriage Story all get increased buzz. The Two Popes, Just Mercy, Shindisi, and Uncut Gems also made gains at the “regional” film festivals. Oscar Screeners are circulating later than usual this year, and we try to wrap our heads around the Netflix debt sheet heading into the upcoming streaming wars. All of that, plus we review The Laundromat & Monos. Another week, and it’s another loaded Oscar Race Checkpoint from MMO. If you’re enjoying our show, please take a few seconds to leave us 5 stars on Apple Podcasts. Just click on our show’s icon, scroll down a few moments, and click that 5th star in your iTunes. We greatly appreciate your support. Otherwise, please do send us your takes on anything we covered here. We’re @MMandOscar on Twitter, and we are on Instagram, Facebook, Reddit, and Gmail. You can subscribe / rate / review / like / share / & listen to us on iTunes, Soundcloud, Stitcher, Google Play, Tune In, Spotify, and just about wherever you listen to podcasts. When reality sucks, keep watching movies with us. We’re Mike, Mike, & Oscar!

Brian Byrne is a composer, conductor, songwriter, arranger and pianist living in Los Angeles. He is a Golden Globe nominated composer who has won two World Soundtrack Awards and a Satellite Award for his music to the song and score for the movie Albert Nobbs. From huge orchestral scores to minimal ensemble pieces Brian has written music for all genres. He was collaborated with such international luminaries as Barbara Streisand, Liza Minelli, Lisa Stansfield, Bono, Gladys Knight and Pink to name but a few. He composed along with his wife Kasey Jones the stage musical Angel Of Broadway which was premiered recently in the National Concert Hall. 

Welcome to episode of Off The Beat & Track Podcast with me Stu Whiffen.This episodes special guest is Film Score composer, 2 time Golden Globe Nominee and smashing chap Daniel PembertonI met with Daniel at WeWork in East London and he came armed with a bag of tunes containing 7 fantastic records each which have sound tracked his life to date and we go in on that journey discussing growing up, youth cultures, art, films, synths, clubbing and so much moreDaniel Pemberton is an Ivor Novello–winning, multi Golden Globe and BAFTA Award-nominated composer who has regularly been cited as one of the most exciting and original new voices working in modern film scoring today.Daniel’s song, performed by Iggy Pop, from his score for the film Gold, starring Matthew McConaughey, was nominated for a 2017 Golden Globe Award – Best Original Song. The previous year he was nominated for Golden Globe Award – Best Original Score for Danny Boyle’s Steve Jobs, starring Michael Fassbender and Kate Winslet.Drawing on a richly diverse set of influences, from English folk to hip-hop; nordic metal to musique concrete; Daniel’s score to Guy Ritchie’s King Arthur: Legend Of The Sword is a showcase of a composer unafraid to take risks and revel in pushing the boundaries of modern film scoring. His previous collaboration with Ritchie on The Man from U.N.C.L.E. was widely critically lauded for its bold writing and innovative arrangements earning him – alongside the features Steve Jobs and the Cannes Palm D’Or nominee Mal De Pierres – a nomination for Film Composer of the Year at the 2016 World Soundtrack Awards. He was previously honoured as Discovery of The Year at the World Soundtrack Awards in 2014 for his work on The Counselor as well as the features Blood, In Fear, and Cuban Fury. Recent scores include the Richard Curtis-penned Danny Boyle-directed Yesterday, Spider-Man: Into The Spider-Verse, Warner Bros’ Ocean’s Eight, and The Dark Crystal: Age of Resistance for Netflix.Having worked in British television for over two decades on countless Emmy and BAFTA Award-winning dramas and documentaries (such as Peep Show, Complicit, Upstairs Downstairs, Dirk Gently, Prey, Space Dive,Occupation, Desperate Romantics and Hiroshima) his big break into feature films came after Ridley Scott was so impressed with Daniel’s debut film score in 2011 for the period supernatural thriller The Awakening that he hired the him to score his feature The Counselor. The pair collaborated again on Scott’s first directorial foray into television, The Vatican, on the Watergate thriller Felt, produced by Scott, directed by Peter Landesman and starring Liam Neeson, and on All The Money In The World, starring Mark Wahlberg.Hope you enjoy this chat and if you do please subscribe and follow the podcast on the social media links belowOff The Beat & Track

Turkish composer Rahman Altin talks about his amazing new score for The Butterfly's Dream. The film revolves around two young and struggling poets at the start of WW2 living in Turkey and is a masterful story of love and life. Rahman goes into detail about writing a score in the tradition of classic cinema and how much of a personal journey this was for him. We discuss his background including how he fell in love with film music through John Williams and seeing Star Wars and Superman when he was young. He also talks about his initial discussions with director Yilmaz Erdogan and how the working relationship was an amazing and rare experience. From barely any temp music to no required revisions, Rahman was able to craft a score completely uninhibited. The result is stunning and Rahman won the Public Choice Award at this year's World Soundtrack Awards. The Butterfly's Dream is also Turkey's official entry for this year's Best Foreign Film for the Academy Awards. A true pleasure to speak with an amazing composer whose work is among the best of the year. Interview Conducted By:Kaya Savas Special Thanks:Rahman AltinChandler PolingWhite Bear PR

Award-winning composer Joe Kraemer joins us for an in-depth interview on his exciting career and the art of character-driven film scoring. You've heard Joe's remarkable work in such films as Mission Impossible: Rogue Nation (2015), Jack Reacher (2012) and Way of the Gun (2000). His celebrated score to Mission Impossible: Rogue Nation won the IFMCA Award in 2015 for Best Original Score for an Action/Adventure/Thriller Film and in 2016 Kraemer was awarded the Discovery Of The Year at the World Soundtrack Awards. Recently, Joe was commissioned by the Dallas Chamber Symphony to write new music for F.W. Murnau's silent film classic Sunrise: A Song of Two Humans. In addition to composing, he'll once again be a featured instructor at the Hollywood Music Workshop this summer in Vienna.  Joe has an infectious, enthusiastic personality and an expertise with film music that is both insightful and inspiring. Enjoy!                                                                                                       Listen to Interview: Joe Kraemer Mission Impossible: Rogue Nation - Joe Kraemer -Paramount - 2015 (Christopher McQuarrie, dir.)-Moroccan Pursuit-Good Evening, Mr. HuntJack Reacher - Joe Kraemer -Paramount - 2012 (Christopher McQuarrie, dir.)-Main TitleWay of the Gun - Joe Kraemer -Artisan Entertainment - 2000 (Christopher McQuarrie, dir.)-Robinhttp://www.joekraemer.com/For score reductions, additional links and more,the discussion continues at: www.underscorepodcast.com  

Born in Krakow, Poland, Abel studied classical composition under Krzysztof Penderecki. In 2006, he moved to Los Angeles, where he currently resides. Abel's scores have received tremendous critical enthusiasm and numerous awards, most notably two Golden Globe nominations, and three World Soundtrack Awards. His lush, stirring, highly original music for Tom Ford's feature A Single Man, starring Colin Firth and Julianne Moore, was greeted with immediate acclaim. The score caught the attention of Madonna, who invited him to create music for her feature film W.E.. Stylish and bittersweet, W.E.'s score which reflects the glamorous romance between Wallis Simpson and The Duke of Windsor. Abel has also scored: Big Animal. a monumental 147-minute composition for an 90-piece orchestra, 60 choir and 2 solo voices for Metropolis, An Angel in Cracow, PU-239, and the animated Battle of Terra. Recent projects include: the surreal and twisted black comedy Escape From Tomorrow, Romeo and Juliet, and Patricia Kaas' tribute to Edith Piaf, Kaas Chante Piaf.

Guía del capítulo 00.00 Presentación + Sextas Nominadas de los oyentes 16.30 Actualidad: reacciones ante el estreno de "Flight" en el NYFF, Blancanieves consigue distribución, nominaciones a los Gotham, presentadoras para los Globos de Oro, Festival de Londres, World Soundtrack Awards y nueva polémica con Joaquin Phoenix 40.50 Análisis de categorías: mejor actriz secundaria. ¿Puede derrotar alguien a la favoritísima Anne Hathaway? 01.14.00 Analizando a fondo... "Lo Imposible" (se comentan algunos detalles de la trama) 01.28.00 Debate. Argo: ¿es la gran favorita tras su estreno americano? 01.34.30 Despedida + sextas Nominadas de Víctor Muesa 01.39.10 Presentación candidata a mejor canción de la película "Holy Motors" P.D. En esta ocasión hemos tenido unos pequeños problemas de sonido en la grabación y posterior edición del capítulo. Disculpad las molestias. Esperemos que podáis seguir disfrutando del podcast.

2008 Sundance fellow iZLER (pronounced "eye-zler") is a Czech born, English raised composer and multi instrumentalist, living in Los Angeles, who started his career as a recording and touring musician / collaborator with Robbie Williams (amongst many others), before coming back to studying conducting and orchestration in LA and focusing on film. An authentic voice in both the rock and orchestral worlds, hehas scored a variety of movies including Humboldt County, Robbie Pickering’s Natural Selection (winner, Best Picture, Best Score 2011 SxSW) and Andrew MacLean’s thriller On the Ice, (2011 Sundance Film Festival, winner Silver Bear, Berlin 2011). He was nominated for the “Discovery of the Year” award at the World Soundtrack Awards in 2011. In the world of TV he is currently serving up weekly orchestral scores on ABC's hit drama Revenge. He has written songs and score for numerous other shows including ER, Thief and Chicago Code and regularly contributes score to Showtime’s current hit series Shameless.

Vi tar en prat med komponisten Elliot Goldenthal på World Soundtrack Awards