Can’t help but feel that calling Behemoth! a love letter to film music is a bit disingenuous, especially as it’s much more about the players than the composers (not to mention the two featured career film composers are assholes)

In my second interview with Laura Karpman, we talk about her intimate score to East of Eden; the ups and downs of scoring her directorial debut, Cosmic Symphony; her new symphonic suite, Unsung; and plenty more Link here (or wherever you get your pods, duh): thefilmscorer.com/an-interview...

An Interview with Laura Karpman (Part 2) - The Film Scorer

Composer Laura Karpman joins The Film Scorer to talk about her score for the new adaptation of East of Eden.

thefilmscorer.com

Can’t believe I missed the six year anniversary of the podcast last month - in that time I’ve done well over 100 composer interviews, talked about the show on NYC public radio, and even am a recommended resource by the Library of Congress. What a ride!

Seeing a lot of complaints that You Can See Everything isn’t a documentary because it’s subjective, but basically every documentary has a score, which on its face means there’s some point of view

Cursive and Good Life frontman Tim Kasher joins me to talk about: - his latest film/score: WHO'S WATCHING - writing music from a psycho-stalker's point of view - the ups (and downs) of metal - the vanity of having your band contribute music to your film, and plenty more Listen👇

An Interview with Tim Kasher - The Film Scorer

Cursive frontman Tim Kasher joins The Film Scorer to talk about his latest film, Who's Watching (and accompanying original score).

thefilmscorer.com

Have been on an unintentional two-week break from the podcast, with real life having gotten crazy, but everything returns this Sunday.

As much as I wasn't crazy about the new Masters of the Universe film, Pemberton's score brings so much life and energy to the film and he nails the guitar tone with Brian May (not to mention the nice connection of using Queen's classic "Princes of the Universe" late in the film)

Olivier Deriviere joins me on The Film Scorer to chat about his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy, creating scores that respond to player's actions (and how other composers can too), & the rival period Greek score from this year. thefilmscorer.com/an-interview...

An Interview with Olivier Deriviere - The Film Scorer

Olivier Deriviere joins The Film Scorer to discuss his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy.

thefilmscorer.com

Motor City, like season 4 of The Bear, shows just how hard it is to try and "score" a project primarily using licensed songs. Folks like Scorsese and Tarantino make it seem easy, but so often it makes scenes feel detached and like a montage

Lorne Balfe and I dive real deep into the world of film music, like working with directors and other composers, academic v. emotional approaches to music, the benefits of a diet of Diet Coke and Marlboro Lights, getting kicked out of five universities, and more... thefilmscorer.com/an-interview...

An Interview with Lorne Balfe - The Film Scorer

Lorne Balfe joins The Film Scorer to do a deep dive on the states of the scoring and film industries.

thefilmscorer.com

There's absolutely no reason for Ghoulies' main title cue to go this hard. If anything, it's a detriment since the rest of the movie is so dreadful and never comes close to the gloriously whimsical tone set here Scored by Richard Band and Shirley Walker (much of the score is taken from other films)

Damn, can't believe Mondo is apparently closing their vinyl division since it's been such a big presence in the score/soundtrack space. It pretty clearly started slowing down its releases since being bought by Funko a couple years ago. A shame to see it go out like this.

Been watching Tales from the Crypt, and the composers involved (not to mention actors and directors) are insane. Alan Silvestri, James Horner, Jan Hammer, Bill Conti, Michael Kamen, and more scoring short anthology horror pieces, awesome

“I’m afraid that people are going to get tired of me,” that I'll "disappear". I chatted with Takeshi Furukawa about scoring Avatar: The Last Airbender and Planet of Lana II, and more importantly about his greatest fears and anxieties as a composer. Listen here: thefilmscorer.com/an-interview...

An Interview with Takeshi Furukawa - The Film Scorer

Composer Takeshi Furukawa discusses his scores for the live action Avatar: The Last Airbender and Planet of Lana II.

thefilmscorer.com

Göransson's score for the Odyssey is worth it just for the bow twang payoff at the end Gotta be crazy pressure to come up with a distinct, instantly recognizable single note that needs to carry throughout the score/film

Rest in Peace Nick Glennie-Smith, who scored films like The Man in the Iron Mask and Secretariat, frequently collaborated with Hans Zimmer and many fellow members of Remote Control Productions (dozens of scores with Hans alone), and worked with Paul McCartney, Phil Collins, and many others.

Looking forward to releasing this next interview, easily the most open, honest, and personal a composer has gotten on the pod

Listened to the score for Ice Cream Man, and Roth’s use of AI in the film (and initially lying about it), unfairly made me wary of the score too. He cast a shadow of suspicion over every aspect of the production, tainting them all

Pretty notable that every single composer in the article mentions the importance of the royalties they got from those theme tunes, a crucial thing for artists that’s seemingly increasingly whittled away www.theguardian.com/tv-and-radio...

‘It might be one of the most unpopular tunes ever written!’: kids’ TV composers tell all

Big cheques, standing ovations, irate adults – there are surprising sides to composing a children’s TV theme tune. From Bluey to Byker Grove, the creators of the best reveal the secrets

theguardian.com

One really underrated aspect of The Furious is how well its scored to picture - there are so many times where a well-placed stinger or cue ending/beginning adds drama, characterization, or general aura farming, or simply signals the next stage of a fight sequence

Kara Talve and I chat about Prehistoric Planet, The Simpsons, Harry Potter, why every score deserves a release, and my skills as an interviewer. Give it a listen👇 thefilmscorer.com/an-interview...

An Interview with Kara Talve - The Film Scorer

Kara Talve joins The Film Scorer to talk about her Emmy-nominated scores for Prehistoric Planet as well as Bleeding Fingers Music.

thefilmscorer.com

Picked up a nice range of albums on this bandcamp Friday, including some folk, black metal, ambient, and experimental

“The music had to be soft, romantic, almost like whipped cream floating over steel. “Nightcall” gave the movie that pink heartbeat.” RIP to a legend www.hollywoodreporter.com/music/music-...

Nicolas Winding Refn Pays Tribute to Kavinsky: ‘Nightfall’ Is “Like Whipped Cream Floating Over Steel”

The 'Drive' director pays homage to the late dance music pioneer, whose futuristic music became synonymous with the film's sexy-cool aesthetic.

hollywoodreporter.com

Just saw this great review of the pod, which also highlights one of my big interviewing principles: get your ass outta the guest’s way and let them talk.

Love this show and this is a really good interview

The Film Scorer@thefilmscorer.bsky.social · 3mo ago

"What would it sound like if the hospital made the score?" Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more. Listen: thefilmscorer.com/an-interview...

"What would it sound like if the hospital made the score?" Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more. Listen: thefilmscorer.com/an-interview...

An Interview with Gavin Brivik - The Film Scorer

Gavin Brivik joins The Film Scorer to discuss his latest score: Faces of Death and the nature of evil in art.

thefilmscorer.com

Pino Donaggio hasn't scored many notable projects in a while, but he's here going absolutely beast mode for Refn on Her Private Hell, holy smokes

Only Tubi would have an 80s Hungarian animated film where every frame looks like (well, is) an oil painting (Heroic Times)

The score release for Uwe Boll's Citizen Vigilante might have the ugliest cover art ever

One of the funniest things about Neil Blomkamp’s AI slop short film is that he couldn’t even cut a halfway decent teaser, it’s just 30 seconds of random “people” talking.