Soundtrack

In this episode, Lasse Enersen shares several behind-the-scenes stories about his composing and the recording of his original score. He talks about how his unique approach to this score was influenced by an Irish hardanger d’amore player and Finnish lullabies. He also discusses how he sought to ironically capture beauty in a story about war and how the most popular piece of his score was one he wrote in just 15 minutes. Lastly, Lasse Enersen shares the story of how he ended up having three, custom decca mics created for the recording of this score.

In this episode, Stefano Lentini talks about his unusual path to writing music for film and television starting with a piece he wrote for the Italian television series, LA PORTA ROSSA (which was nominated for Best Soundtrack at the Fimucite Film Festival. He then reveals how he was able to get the Stabat Mater he composed to be used in Wong Kar Wai’s 2013 feature film THE GRANDMASTER. And coming in a BONUS EPISODE of The Annotator, you will hear Lentini talk about several pieces of his 2018 release, “Fury.”

In this episode of The Annotator, Winifred Phillips talks about her journey to and through her original score for SCRAPER: FIRST STRIKE. She explains how she represents both the human side and artificial side of the conflict through her choices in instrumentation and provides a detailed, musical exploration for each of the five tracks from the game’s original soundtrack presented here.

In this episode, Ian Honeyman shares about how he managed writing and recording this score with a tight turn-around time. While balancing his deadline, Honeyman also reveals how he still managed to give his score a unique, organic sound through resourceful decisions like employing his wife for vocal work as well as a Mongolian horse-head fiddle which was given to him by the Chinese, metal band, Voodoo Kung fu!

In this episode, Daniel Pemberton unties his musical web of themes; instruments and "Technics" he used for Into the Spider-Verse. He dives deep into his unique utilization of the hip-hop staple of record-scratching, where HE employs Londoner DJ Blakey and his multifaceted scratching abilities in a multi-layered recording process that may also be a first. He also talks about writing this score both in London but also, due to the ongoing collaborative nature of the project, in Los Angeles. There, he found himself in a small bit of space in the Sony Animation studio, from where he would complete the score as the production period of the film wound to a close.

In this episode, Rolfe Kent reveals how he worked with director Jon Baird on finding the balance in the score between evoking the sound of the silent-movie-era but also a contemporary feel as well. The composer also talks about how he juxtaposed specific instruments to vividly contrast the characters of Stanley Laurel and Oliver Hardy in his music.

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.

In this episode, Nathan Barr talks about recording this score in his own new studio, including a 1928 Wurlitzer theater organ he had restored over four years. He talks about how this film became a great showcase for the inclusion his newly restored organ and how this score ended up being his most traditional score to date. While diving into the thematic development for principle characters of Lewis and Jonathan, Barr reveals the challenges of writing a horror-score for an Eli Roth film where children, instead of adults, were the target audience.

In this episode, Anne Chmelewsky talks about how she captured the two most important ideas of the film within her score: identity and love; not only writing individual themes for each but composing a delicate yet powerful interaction between the two. She also reveals how some efficient use of left-over time in a string recording session ended up helping to get her hired onto this important feature film project.

In this episode, Daniel Hart reveals how a number of key themes came to him by watching early footage of the film repeatedly, how he found himself being recorded playing solo cello for the first time, and how his song, “I Get Overwhelmed” originally written and performed for and by his band Dark Rooms, became a part of A GHOST STORY and how it ended up providing several key elements of the score.

Today’s very special episode of CINEMATIC SOUND RADIO is a conversation with one of film music’s emerging talents. Born in Saudi Arabia and raised in Jordan, Ghiya Rushidat is one among…

Kyd is a BAFTA-winning musician, who has scored for blockbuster video game series', Assassin's Creed, Borderlands and Hitman.

In this episode, composer Steve Horner and co-director, Andrew Chesworth, talk about ONE SMALL STEP, their third collaborative effort for an animated short. They discuss both their sources of inspiration for the music (like Disney’s animated features from the 1930s and 40s.) and also their goals for the short and just how important setting those goals were to the entire process. They also discuss how much more important the score becomes.

This triple-interview episode features Kristen Romanelli's conversations with the composers for three major movie releases from December of 2018:  AQUAMAN'S Rupert Gregson-Williams, DESTROYER's Theodore Shapiro and MOWGLI's Nitin Sawhney!  You'll dive deep into the stories and motivations behind each score as well as the intricate, specific techniques employed by each composer for each of these very different film projects.

In this episode, Nitin Sawhney opens up his score for Mowgli revealing how his main theme was written to reflect the essence of the titular character. Sawhney also shares how many of his intricate pieces were written, orchestrated, and performed to convey Mowgli’s inward search and outward hero’s journey, which both ultimately lead to his self-discovery.

In this special double-interview, Kristen Romanelli talks with composer Carter Burwell about his evocative, western, score for the recent Coen Brothers/ Netflix anthology project, THE BALLAD OF BUSTER SCRUGGS. Next, she speaks with composer Rolfe Kent about his heartfelt original score for the "dramedic" STAN & OLLIE from director Jon S. Baird, which focuses on the latter careers of the famed comedy team of Laurel and Hardy.

In this episode, H-Pi, talks about his score's connections to the original Brave Frontier, and shares a curious story regarding the score’s lead violinist, who's surname was one of most famous names in the world of Japanese gaming - "Kojima." Lastly, Henri-Pierre reveals the origin behind the his pseudonym, H-Pi.

In this episode of The Annotator, Toby Chu walks us through his entire score for the six-minute-thirty-three-second-short giving us insight into how his score largely represents the story arc of the Mom. He shares about how he made use of both Western and Eastern orchestration and how his choices not only reflect the push and pull between two cultures but also the ups and downs of some mother-son relationships.

In our second installment of Odyssey Interviews, Yavar has a conversation with film composer and conductor Cliff Eidelman. Eidelman is perhaps best known for his striking score for Star Trek VI: The Undiscovered Country, and has scored suc

In this episode, Michael Yezerski shares the story behind the creation of the first piece of music he wrote for the film which was created to simply rediscover the sound of Oakland, California. He also details how his score was uniquely positioned to continually build tension and and delicately transition scenes from dialogue to spoken-word. Finally, Yezerski also describes the two main thematic and tonal threads he created for this uniquely conceived and told story.