Paul Haslinger

Composer Paul Haslinger sits down for a brand new Film.Music.Media conversation! Paul takes us back through his amazing career in music from his time with Tangerine Dream, moving to Los Angeles and exploring other avenues of music, and eventually focusing on a career as a composer for film and TV. We explore what it was like to be an electronic musician in the 80's and how those working with synths and electronics were shunned in the composing community. Paul talks about several of his projects including the Underworld films, Crazy/Beautiful, Crank, Shoot 'Em Up, and more! We also dive into his newest score for The YouTube Effect. The documentary directed by Alex Winter explores how YouTube has left a troubling legacy on how it has impacted society as a whole. Paul talks about his unique approach to scoring the film, and why he did not want to go the conventional route. While the score was written for the film, the stylings and structure of the album allow it to stand on its own almost as its own experience. You can listen to the album from Node Records on all digital platforms. Paul is one of the pioneers of electronic music, and his music has left a lasting impact through all the amazing scores and albums he's composed throughout his career. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer Paul Haslinger sits down for a brand new Film.Music.Media conversation! Paul takes us back through his amazing career in music from his time with Tangerine Dream, moving to Los Angeles and exploring other avenues of music, and eventually focusing on a career as a composer for film and TV. We explore what it was like to be an electronic musician in the 80's and how those working with synths and electronics were shunned in the composing community. Paul talks about several of his projects including the Underworld films, Crazy/Beautiful, Crank, Shoot 'Em Up, and more! We also dive into his newest score for The YouTube Effect. The documentary directed by Alex Winter explores how YouTube has left a troubling legacy on how it has impacted society as a whole. Paul talks about his unique approach to scoring the film, and why he did not want to go the conventional route. While the score was written for the film, the stylings and structure of the album allow it to stand on its own almost as its own experience. You can listen to the album from Node Records on all digital platforms. Paul is one of the pioneers of electronic music, and his music has left a lasting impact through all the amazing scores and albums he's composed throughout his career. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Paul Haslinger | Composer: The YouTube Effect

"Weird Al" Yankovic, Leo Birenberg &amp; Zach Robinson sit down to take us behind the music of Weird: The Al Yankovic Story! Al talks about his love for the parody genre, and why his interest in writing film and television has led to projects like UHF and Weird. Al describes what it was like to go back and re-record some of his most well-known songs that would then be lip synced on set by Daniel Radcliffe. Al also wrote a new original song titled "Now You Know" for the film. Leo and Zach take us behind the score, and how the key to a good parody score is having sincerity behind it. For Weird, the composing duo aimed to channel the big warm scores of early 1990's dramas, while also getting crazy and over the top with different stylings and genres. Learn how they processed and warped the sound of the accordion for the diner fight scene, and much more! A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

"Weird Al" Yankovic, Leo Birenberg &amp; Zach Robinson sit down to take us behind the music of Weird: The Al Yankovic Story! Al talks about his love for the parody genre, and why his interest in writing film and television has led to projects like UHF and Weird. Al describes what it was like to go back and re-record some of his most well-known songs that would then be lip synced on set by Daniel Radcliffe. Al also wrote a new original song titled "Now You Know" for the film. Leo and Zach take us behind the score, and how the key to a good parody score is having sincerity behind it. For Weird, the composing duo aimed to channel the big warm scores of early 1990's dramas, while also getting crazy and over the top with different stylings and genres. Learn how they processed and warped the sound of the accordion for the diner fight scene, and much more! A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Weird: The Al Yankovic Story | Behind The Music

Jeff Russo

Composer Jeff Russo sits down for a brand new Film.Music.Media conversation!Jeff returns as a guest to take us into two of his recent scores. We dive into the miniseries Love &amp; Death, and how Jeff approached the drama based on the real-life true crime story. Jeff talks about what it was like coming onto the project late and what his process was with crafting a music narrative that wasn’t too heavy-handed. Jeff also explains his process for navigating song placements to create a seamless flow.We also talk about the critically-acclaimed Mrs. Davis, which Jeff also scored. Mrs. Davis was a very different approach in that it went all in with bending genres, and we explore if genres even have the same connotation or meaning anymore or do they effectively box in storytellers. Jeff talks about how much fun he had scoring Mrs. Davis, and how he built the arc of the series musically.Jeff also gives us a little of what we have to look forward to coming up as he is deep into working with Noah Hawley again on Fargo: Season 5 and Hawley’s upcoming Alien series for FX.A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer Jeff Russo sits down for a brand new Film.Music.Media conversation! Jeff returns as a guest to take us into two of his recent scores. We dive into the miniseries Love &amp; Death, and how Jeff approached the drama based on the real-life true crime story. Jeff talks about what it was like coming onto the project late and what his process was with crafting a music narrative that wasn’t too heavy-handed. Jeff also explains his process for navigating song placements to create a seamless flow. We also talk about the critically-acclaimed Mrs. Davis, which Jeff also scored. Mrs. Davis was a very different approach in that it went all in with bending genres, and we explore if genres even have the same connotation or meaning anymore or do they effectively box in storytellers. Jeff talks about how much fun he had scoring Mrs. Davis, and how he built the arc of the series musically. Jeff also gives us a little of what we have to look forward to coming up as he is deep into working with Noah Hawley again on Fargo: Season 5 and Hawley’s upcoming Alien series for FX. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Jeff Russo | Composer: Love & Death / Mrs. Davis

Jeff Rona

Composer Jeff Rona sits down for a brand new Film.Music.Media conversation!Jeff takes some time to talk about the newest edition of his book, The Reel World. Jeff’s book has been an incredible resource for composers entering this industry, and is packed with so much real-world knowledge and perspectives that help get any composer a more comfortable footing on the ever-shifting grounds of the entertainment industry.Jeff talks about how he updates the book to reflect the current state of the industry including getting more perspectives from younger composers who have more recent insight to share along with the insight from veterans who entered the industry at different times including John Williams and James Newton Howard among others. Jeff talks about how things have changed and evolved, what has stayed the same, new technologies, and even the hot topic conversation around AI in music.Jeff examines some of his recent work as well including how he works with an amazing team, how he got into video game scoring, and his recent solo album Lume.A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer Jeff Rona sits down for a brand new Film.Music.Media conversation! Jeff takes some time to talk about the newest edition of his book, The Reel World. Jeff’s book has been an incredible resource for composers entering this industry, and is packed with so much real-world knowledge and perspectives that help get any composer a more comfortable footing on the ever-shifting grounds of the entertainment industry. Jeff talks about how he updates the book to reflect the current state of the industry including getting more perspectives from younger composers who have more recent insight to share along with the insight from veterans who entered the industry at different times including John Williams and James Newton Howard among others. Jeff talks about how things have changed and evolved, what has stayed the same, new technologies, and even the hot topic conversation around AI in music. Jeff examines some of his recent work as well including how he works with an amazing team, how he got into video game scoring, and his recent solo album Lume. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Jeff Rona | Composer/Author: The Reel World (Third Edition)

David Fleming

Composer David Fleming sits down for a brand new Film.Music.Media conversation! Dave shares his journey to becoming a composer including getting his start working with composers like Atli Örvarsson and Hans Zimmer. Dave also talks about his work as an additional composer on certain projects like Hans Zimmer's Dune, and what it's like being part of a music team. For this chat we take a look at Dave's general approach to several projects including South Of Heaven, Hillbilly Elegy, and The Unforgivable. The latter two were co-scored with Hans Zimmer. We also dive into Dave's recent score with Hans to the French Canadian miniseries, The Night Logan Woke Up. Dave also talks about co-scoring The Last Of Us on HBO. Hear how he worked separately from the series' lead composer Gustavo Santaolalla to help flesh out certain scenes and to add tension and atmosphere to the overall structure of the series. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas This interview was recorded at the end of March 2023 and certain mention of projects and their timing are not accurate at the time of posting.

Composer David Fleming sits down for a brand new Film.Music.Media conversation! Dave shares his journey to becoming a composer including getting his start working with composers like Atli Örvarsson and Hans Zimmer. Dave also talks about his work as an additional composer on certain projects like Hans Zimmer's Dune, and what it's like being part of a music team. For this chat we take a look at Dave's general approach to several projects including South Of Heaven, Hillbilly Elegy, and The Unforgivable. The latter two were co-scored with Hans Zimmer. We also dive into Dave's recent score with Hans to the French Canadian miniseries, The Night Logan Woke Up. Dave also talks about co-scoring The Last Of Us on HBO. Hear how he worked separately from the series' lead composer Gustavo Santaolalla to help flesh out certain scenes and to add tension and atmosphere to the overall structure of the series. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas This interview was recorded at the end of March 2023 and certain mention of projects and their timing are not accurate at the time of posting.

David Fleming | Co-Composer: The Last Of Us

Max Aruj

Composer Max Aruj sits down for a brand new Film.Music.Media conversation! From getting his start working on Lorne Balfe's team to scoring hit thrillers like Crawl (co-scored with Steffen Thum) and his recent score to The Tank, Max has quickly stood out for his incredible versatility and unique voice as a musical storyteller. For this chat we explore Max's background and path to composing, getting his foot in the door, working with Lorne Balfe, early lessons learned, branching out and scoring films on his own, finding his storytelling voice, and co-composing some projects with Steffen Thum. For The Tank we look at what it takes to successfully create tension and score a creature feature, and why we as a society love the genre so much! A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer Max Aruj sits down for a brand new Film.Music.Media conversation! From getting his start working on Lorne Balfe's team to scoring hit thrillers like Crawl (co-scored with Steffen Thum) and his recent score to The Tank, Max has quickly stood out for his incredible versatility and unique voice as a musical storyteller. For this chat we explore Max's background and path to composing, getting his foot in the door, working with Lorne Balfe, early lessons learned, branching out and scoring films on his own, finding his storytelling voice, and co-composing some projects with Steffen Thum. For The Tank we look at what it takes to successfully create tension and score a creature feature, and why we as a society love the genre so much! A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Max Aruj | Composer: The Tank

Corey Wallace

Composer Corey Wallace sits down for a brand new Film.Music.Media conversation!Topics: Corey's path to becoming a composer, getting his first jobs in the industry, developing his sound as a composer, his approach to scoring Supercell and writing music that balances disaster action as well as character arcs, keeping that traditional orchestral writing style alive, achieving a big sound on a small budget film, and more!A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas#coreywallace #composer #interview #podcast #soundtrack #soundtracks #behindthescenes #filmmaking #movies #television #supercell

Composer Corey Wallace sits down for a brand new Film.Music.Media conversation! Topics: Corey's path to becoming a composer, getting his first jobs in the industry, developing his sound as a composer, his approach to scoring Supercell and writing music that balances disaster action as well as character arcs, keeping that traditional orchestral writing style alive, achieving a big sound on a small budget film, and more! A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas #coreywallace #composer #interview #podcast #soundtrack #soundtracks #behindthescenes #filmmaking #movies #television #supercell

Corey Wallace | Composer: Supercell

Composer Joel J Richard joins us for an in-depth look at his work co-scoring the entire John Wick series alongside Tyler Bates, and what went into developing the sound of John Wick and evolving it across four films.Joel starts off talking about his unique path to composing including working as an assistant for John Powell. We talk about how he found his inspiration for composing and what were the steps that led to meeting Tyler Bates, which in turn led Tyler asking him to co-helm the first John Wick film.We focus on the musical evolution of John Wick, and how he worked with director Chad Stahelski as the films grew in scope and the lore of the world expanded. Joel talks about finding the sound of the world, what style and approach worked best, and how the scores for each film led up to this final chapter. Chapter 4 opens up the scope of John Wick even bigger and builds upon its genre inspirations from Hong Kong cinema, John Woo, European neo-noir, Akira Kurosawa, and Sergio Leone. Joel talks about weaving those textures and nods, tackling huge action set pieces, and making sure the score never lost the feel that was established in the first film.Joel is such a wonderful and versatile composer, and his work on the John Wick series ended up building its own unique sonic identity while still being able to acknowledge the genres that inspired the character and world.A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer Joel J Richard joins us for an in-depth look at his work co-scoring the entire John Wick series alongside Tyler Bates, and what went into developing the sound of John Wick and evolving it across four films. Joel starts off talking about his unique path to composing including working as an assistant for John Powell. We talk about how he found his inspiration for composing and what were the steps that led to meeting Tyler Bates, which in turn led Tyler asking him to co-helm the first John Wick film. We focus on the musical evolution of John Wick, and how he worked with director Chad Stahelski as the films grew in scope and the lore of the world expanded. Joel talks about finding the sound of the world, what style and approach worked best, and how the scores for each film led up to this final chapter. Chapter 4 opens up the scope of John Wick even bigger and builds upon its genre inspirations from Hong Kong cinema, John Woo, European neo-noir, Akira Kurosawa, and Sergio Leone. Joel talks about weaving those textures and nods, tackling huge action set pieces, and making sure the score never lost the feel that was established in the first film. Joel is such a wonderful and versatile composer, and his work on the John Wick series ended up building its own unique sonic identity while still being able to acknowledge the genres that inspired the character and world. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Joel J Richard | Co-Composer: John Wick - Chapter 4

Alex Heffes

Composer Alex Heffes has worked on over 70 feature films and TV projects collaborating with directors including Kevin Macdonald, Steven Frears, Catherine Hardwicke and Mira Nair. His ability to adapt and craft unique narratives and build sonic palettes has made him one of the most renowned composers working today.For this chat we look at how Alex found his way to becoming a composer, and what his general approach to scoring is. Alex shares stories from various projects such as traveling around the world to record certain sounds and instruments to working closely with Tim Burton on the film adaptation of Sweeney Todd.We also take a look at his recent score to Mafia Mama, which sees him reuniting with director Catherine Hardwicke for a fun and light crowd-pleasing comedy starring Toni Collette. Alex talks about working with Catherine again, and how he approached scoring an action comedy. We talk about finding the right tone, making sure the score doesn't overstep boundaries, referencing the mob genre musically and much more!Alex's versatility as a composer and storyteller have brought us so many wonderful scores over the years and it was a real pleasure to peek into his world for this conversation.A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer Alex Heffes has worked on over 70 feature films and TV projects collaborating with directors including Kevin Macdonald, Steven Frears, Catherine Hardwicke and Mira Nair. His ability to adapt and craft unique narratives and build sonic palettes has made him one of the most renowned composers working today. For this chat we look at how Alex found his way to becoming a composer, and what his general approach to scoring is. Alex shares stories from various projects such as traveling around the world to record certain sounds and instruments to working closely with Tim Burton on the film adaptation of Sweeney Todd. We also take a look at his recent score to Mafia Mama, which sees him reuniting with director Catherine Hardwicke for a fun and light crowd-pleasing comedy starring Toni Collette. Alex talks about working with Catherine again, and how he approached scoring an action comedy. We talk about finding the right tone, making sure the score doesn't overstep boundaries, referencing the mob genre musically and much more! Alex's versatility as a composer and storyteller have brought us so many wonderful scores over the years and it was a real pleasure to peek into his world for this conversation. A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Alex Heffes | Composer: Mafia Mamma

James Allen

Composer James Allen Roberson takes some time to talk about his career and his new score to the heartwarming family film Heart Of A Champion.We chat about James's path to becoming a composer, and how he started working as an assistant and additional composer for Rupert Gregson-Williams. James explains what he learned working for Rupert, and how it helped prep him for his own career.We dive in and talk about his newest score to Heart Of A Champion, and how James approached the score to balance the tone and emotions of the narrative. We also talk about his score to the animated series, Spirit Riding Free and how he tackled an animated series across four seasons.James's passion and versatility as a storyteller has made him one of the most prominent voices working today and it was a real pleasure to catch up with him!A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

Composer James Allen Roberson takes some time to talk about his career and his new score to the heartwarming family film Heart Of A Champion. We chat about James's path to becoming a composer, and how he started working as an assistant and additional composer for Rupert Gregson-Williams. James explains what he learned working for Rupert, and how it helped prep him for his own career. We dive in and talk about his newest score to Heart Of A Champion, and how James approached the score to balance the tone and emotions of the narrative. We also talk about his score to the animated series, Spirit Riding Free and how he tackled an animated series across four seasons. James's passion and versatility as a storyteller has made him one of the most prominent voices working today and it was a real pleasure to catch up with him! A Film.Music.Media Production | Produced &amp; Presented by Kaya Savas

James Allen Roberson | Composer: Heart Of A Champion

Film.Music.Media features interviews with today’s top film, TV and game composers. We sit down and talk extensively with today’s top composers working across all visual media. Get to know the people behind some of your favorite soundtracks! Video versions of our interviews can be found on our YouTube channel.

Very informative and insightful! The interviews and all access talks are great, much better than the score reviews on the website which basically are: if the composer has been interviewed by FMM then there literally won’t be a single negative comment about whatever score is being reviewed. BUT.. I would be the same way lol.. I listen to these all the time so keep up the good work!! :)

Insightful

Film.Music.Media

Lorne Balfe

The supremely versatile Lorne Balfe takes some time to chat about his fantastic new score to the new Dreamworks animation film, The Penguins Of Madagascar. Lorne explains everything that came with scoring a spin-off to characters who have become very familiar to audiences in another franchise. We discuss thematic writing, including Lorne's process for writing a theme. Beyond Penguins we get into a fantastic discussion of certain composing techniques and trends happening in the industry. We touch briefly on some of Lorne's other recent projects too like Skylanders and The Driver. All in all, this is definitely the most informative and engaging interview with Lorne on Film.Music.Media yet. Enjoy. Interview Conducted By: Kaya Savas Special Thanks: Lorne Balfe Kelly Johnson Photo Credit: Peter "Oso" Snell Visit filmmusicmedia.com for more!

The supremely versatile Lorne Balfe takes some time to chat about his fantastic new score to the new Dreamworks animation film, The Penguins Of Madagascar. Lorne explains everything that came with scoring a spin-off to characters who have become very familiar to audiences in another franchise. We discuss thematic writing, including Lorne's process for writing a theme. Beyond Penguins we get into a fantastic discussion of certain composing techniques and trends happening in the industry. We touch briefly on some of Lorne's other recent projects too like Skylanders and The Driver. All in all, this is definitely the most informative and engaging interview with Lorne on Film.Music.Media yet. Enjoy. Interview Conducted By: Kaya Savas Special Thanks: Lorne Balfe Kelly Johnson Photo Credit: Peter "Oso" Snell Visit <a href="http://filmmusicmedia.com" rel="nofollow" target="_blank">filmmusicmedia.com</a> for more!

Composer Interview: Lorne Balfe (December 4, 2014)

Heitor Pereira

Heitor Pereira takes some time to discuss his latest score to the film If I Stay, which was adapted from the popular novel. Heitor discusses his approach to a film with a subject matter like If I Stay versus something lighter like Despicable Me. We discuss the state of mind one has to put themselves in depending on the project. We discuss a lot about melodies, including Heitor's unique process of recording himself reading the script because he hums out melodies if an idea strikes him while reading a scene. Heitor then shares how that process transfers to his MIDI guitar, which he had custom built because while most composers hash out ideas on a piano, Heitor feels more at home with a guitar. Beyond that, Heitor shares his favorite pastimes and hobbies that help him creatively refresh between projects. Another amazingly inspirational interview with one of the most passionate and talented composers working today. Interview Conducted By: Kaya Savas Special Thanks: Heitor Pereira Ray Costa Albert Tello Costa Communications Visit (filmmusicmedia.com) for more great interviews.

Heitor Pereira takes some time to discuss his latest score to the film If I Stay, which was adapted from the popular novel. Heitor discusses his approach to a film with a subject matter like If I Stay versus something lighter like Despicable Me. We discuss the state of mind one has to put themselves in depending on the project. We discuss a lot about melodies, including Heitor's unique process of recording himself reading the script because he hums out melodies if an idea strikes him while reading a scene. Heitor then shares how that process transfers to his MIDI guitar, which he had custom built because while most composers hash out ideas on a piano, Heitor feels more at home with a guitar. Beyond that, Heitor shares his favorite pastimes and hobbies that help him creatively refresh between projects. Another amazingly inspirational interview with one of the most passionate and talented composers working today. Interview Conducted By: Kaya Savas Special Thanks: Heitor Pereira Ray Costa Albert Tello Costa Communications Visit (<a href="http://filmmusicmedia.com" rel="nofollow" target="_blank">filmmusicmedia.com</a>) for more great interviews.

Composer Interview: Heitor Pereira (September 6, 2014)

Nick Glennie-Smith

[Watch the video interview on our YouTube Channel] On this All Access we have an intimate chat with the one and only Nick Glennie-Smith. We sat on Nick's patio overlooking the Pacific Ocean on a breezy and beautiful California day with cups of tea to discuss his varied career in music and film. Nick takes us back to his childhood growing up in the UK and how he formed early relationships and his love of gear that led him down a path that would eventually lead him to Hollywood. Nick shares some amazing stories that paint the picture of the origins of his friendships with other notable composers such as Richard Harvey, Mark Mancina and Hans Zimmer. We discuss all his films including those he composed for Randall Wallace, and iconic 90's action films like The Rock. Beyond that Nick talks about his career as a conductor and the role he plays during recording sessions, what he still hopes to accomplish in his career as a composer and so much more. Nick's optimism and warmth as a person are treasured characteristics in this industry, and to hear his story and insights is a true pleasure that should shine a light on a composer whose musical body of work means so much to so many. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Nick Glennie-Smith Stéphane Humez

<a href="https://www.youtube.com/watch?v=gD4_q7cawo8" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> On this All Access we have an intimate chat with the one and only Nick Glennie-Smith. We sat on Nick's patio overlooking the Pacific Ocean on a breezy and beautiful California day with cups of tea to discuss his varied career in music and film. Nick takes us back to his childhood growing up in the UK and how he formed early relationships and his love of gear that led him down a path that would eventually lead him to Hollywood. Nick shares some amazing stories that paint the picture of the origins of his friendships with other notable composers such as Richard Harvey, Mark Mancina and Hans Zimmer. We discuss all his films including those he composed for Randall Wallace, and iconic 90's action films like The Rock. Beyond that Nick talks about his career as a conductor and the role he plays during recording sessions, what he still hopes to accomplish in his career as a composer and so much more. Nick's optimism and warmth as a person are treasured characteristics in this industry, and to hear his story and insights is a true pleasure that should shine a light on a composer whose musical body of work means so much to so many. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Nick Glennie-Smith Stéphane Humez

All Access: Nick Glennie-Smith (October 21, 2016) *Video Interview Available

The fun and animated Lorne Balfe takes time to talk about his upbringing, starting in commercials, video game composing on Call Of Duty: Modern Warfare 2 and Crysis 2, genre jumping and getting to the essential emotional core of music. Lorne has been working with Hans Zimmer for the past few years and has co-composed scores like Megamind and The Dilemma with Hans. He's worked on Sherlock Holmes, The Dark Knight and Inception as well to name a few. His solo works include Crying With Laughter and the recent Ironclad. A fun and extremely informative interview. Enjoy!

The fun and animated Lorne Balfe takes time to talk about his upbringing, starting in commercials, video game composing on Call Of Duty: Modern Warfare 2 and Crysis 2, genre jumping and getting to the essential emotional core of music. Lorne has been working with Hans Zimmer for the past few years and has co-composed scores like Megamind and The Dilemma with Hans. He's worked on Sherlock Holmes, The Dark Knight and Inception as well to name a few. His solo works include Crying With Laughter and the recent Ironclad. A fun and extremely informative interview. Enjoy!

Composer Interview: Lorne Balfe (March 25, 2011)

Nathan Johnson

[Watch the video interview on our YouTube Channel] Nathan Johnson's versatility as a composer and a storyteller can be seen across all his scores as well as all his projects he does outside of film composing. In this All Access we take a trip down memory lane as Nathan talks about growing up with his cousin, director Rian Jonson. Both Nathan and Rian dabbled in music and filmmaking when they were younger, and that blossomed from being family members messing around to the two of them being creative partners. Nathan has scored every one of Rian's films except Star Wars: The Last Jedi (for obvious reasons). In this All Access we dissect scores such as Brick, The Brothers Bloom, Looper and of course Knives Out. We also dive into Nathan's work as a director with some of his extremely amazing music videos and other visual art. Hear about Nathan's general approach and process to scoring plus tons of amazing stories such as when Rian Johnson invited him to the scoring sessions of The Last Jedi. It's a joy to sit down and just talk and dissect creativity with a composer and visual artist such as Nathan, who has the rare perspective of coming at music with so much else in his creative repertoire. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

<a href="https://www.youtube.com/watch?v=AJ_QzWTHHk8" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> Nathan Johnson's versatility as a composer and a storyteller can be seen across all his scores as well as all his projects he does outside of film composing. In this All Access we take a trip down memory lane as Nathan talks about growing up with his cousin, director Rian Jonson. Both Nathan and Rian dabbled in music and filmmaking when they were younger, and that blossomed from being family members messing around to the two of them being creative partners. Nathan has scored every one of Rian's films except Star Wars: The Last Jedi (for obvious reasons). In this All Access we dissect scores such as Brick, The Brothers Bloom, Looper and of course Knives Out. We also dive into Nathan's work as a director with some of his extremely amazing music videos and other visual art. Hear about Nathan's general approach and process to scoring plus tons of amazing stories such as when Rian Johnson invited him to the scoring sessions of The Last Jedi. It's a joy to sit down and just talk and dissect creativity with a composer and visual artist such as Nathan, who has the rare perspective of coming at music with so much else in his creative repertoire. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

Nathan Johnson (Composer: Knives Out)

Alan Silvestri

[Watch the video interview on our YouTube Channel] He got Arnold to the choppa, put the fly in Marty McFly, helped Forrest run like the wind blows, made sure we found out who framed Roger Rabbit, made you cry over a volleyball, and is now making sure Thanos is put in his place. Honored to welcome back composer Alan Silvestri for another in-depth All Access interview. In this conversation we dissect some of Alan’s early defining moments that set him on the path to becoming composer, early mistakes he made that served as teachable moments, and we break down his creative process and what it truly means to be a storyteller. Other topics include overcoming self-doubt, how living through both happy and sad life moments help make you a better storyteller, working with directors, becoming the character you’re writing for and much more. In our previous All Access we looked at a lot of Alan’s iconic projects, but here we breakdown some of the most iconic themes Alan has written from films like Predator, Back To The Future, Who Framed Roger Rabbit?, Forrest Gump and of course Avengers. Learn the thought process behind some of these themes and how they came to be. Listen to How Alan approached his Marvel scores as we reflect back on Captain America: The First Avenger, Avengers, Avengers: Infinity War and the big finale that is Avengers: Endgame. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

<a href="https://www.youtube.com/watch?v=iqBXVGDJ1Hc" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> He got Arnold to the choppa, put the fly in Marty McFly, helped Forrest run like the wind blows, made sure we found out who framed Roger Rabbit, made you cry over a volleyball, and is now making sure Thanos is put in his place. Honored to welcome back composer Alan Silvestri for another in-depth All Access interview. In this conversation we dissect some of Alan’s early defining moments that set him on the path to becoming composer, early mistakes he made that served as teachable moments, and we break down his creative process and what it truly means to be a storyteller. Other topics include overcoming self-doubt, how living through both happy and sad life moments help make you a better storyteller, working with directors, becoming the character you’re writing for and much more. In our previous All Access we looked at a lot of Alan’s iconic projects, but here we breakdown some of the most iconic themes Alan has written from films like Predator, Back To The Future, Who Framed Roger Rabbit?, Forrest Gump and of course Avengers. Learn the thought process behind some of these themes and how they came to be. Listen to How Alan approached his Marvel scores as we reflect back on Captain America: The First Avenger, Avengers, Avengers: Infinity War and the big finale that is Avengers: Endgame. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

Alan Silvestri (Composer: Avengers: Endgame)

Tom Holkenborg

Composer Tom Holkenborg (also known as Junkie XL) is on an unstoppable roll as one of Hollywood's most in-demand composers. With such hits as 300: Rise Of An Empire, Divergent and much more under his belt he has become one of the prominent sounds of the industry. Tom takes some time to chat about his most recent score to Run All Night starring Liam Neeson. We discuss the unusual process that this score had including the quick 4-week process, as well as compiling a conceptual score after only hearing the plot from an executive at Warner Brothers. Tom shares how that 1-hour musical compilation of ideas got him the job. He talks about researching classic gangster films, including those of composer Ennio Morricone in order to learn how to mesh intensity with emotions. Tom is one of the most clever and innovative musical minds working today and this interview is a great exploration of his creative process. We also pry a bit into Tom's upcoming scores to Mad Max: Fury Road and Batman vs. Superman: Dawn Of Justice. Interview Conducted By: Kaya Savas Special Thanks: Tom Holkenborg Ray Costa Albert Tello Costa Communications

Composer Tom Holkenborg (also known as Junkie XL) is on an unstoppable roll as one of Hollywood's most in-demand composers. With such hits as 300: Rise Of An Empire, Divergent and much more under his belt he has become one of the prominent sounds of the industry. Tom takes some time to chat about his most recent score to Run All Night starring Liam Neeson. We discuss the unusual process that this score had including the quick 4-week process, as well as compiling a conceptual score after only hearing the plot from an executive at Warner Brothers. Tom shares how that 1-hour musical compilation of ideas got him the job. He talks about researching classic gangster films, including those of composer Ennio Morricone in order to learn how to mesh intensity with emotions. Tom is one of the most clever and innovative musical minds working today and this interview is a great exploration of his creative process. We also pry a bit into Tom's upcoming scores to Mad Max: Fury Road and Batman vs. Superman: Dawn Of Justice. Interview Conducted By: Kaya Savas Special Thanks: Tom Holkenborg Ray Costa Albert Tello Costa Communications

Composer Interview: Tom Holkenborg [Junkie XL] (March 11, 2015)

In this audio interview Bear talks about working under Elmer Bernstein and getting started in scoring, scoring video games vs. films, his work on Human Target and a little bit about the upcoming series The Walking Dead.

In this audio interview Bear talks about working under Elmer Bernstein and getting started in scoring, scoring video games vs. films, his work on Human Target and a little bit about the upcoming series The Walking Dead.

Composer Interview: Bear McCreary [Part 2 of 2] (October 29, 2010)

Elliot Goldenthal

Oscar-winning composer Elliot Goldenthal takes some time to chat about his newest score to Julie Taymor's A Midsummer Night's Dream. The unique take on the Shakespearean classic was performed live on stage, but was shot cinematically to be edited into a film. This presented Elliot with a completely new way of writing music. The film plays for a special one-night only event via Fathom Events on June 22nd at theaters around the country. Beyond that, Elliot also composed a 3-act ballet adaptation of Othello as well as another play directed by Julie Taymor starring Anne Hathaway called Grounded. Elliot discusses how he wrote the score for Grounded just from Anne Hathaway's voice. We also discuss his Symphony In G# Minor, which was released on CD/Digital last month. Elliot describes what goes through his mind when he writes a symphony vs film or stage. And finally Elliot gives his thoughts on the complaints Harry Gregson-Williams made when Michael Mann's Blackhat was released and to Harry's surprise had most of his score replaced. It's a true honor to have Elliot back on Film.Music.Media for another insightful and supremely interesting chat. Interview Conducted By: Kaya Savas Special Thanks: Elliot Goldenthal Jeff Sanderson Ryan Mazie Chasen &amp; Company

Oscar-winning composer Elliot Goldenthal takes some time to chat about his newest score to Julie Taymor's A Midsummer Night's Dream. The unique take on the Shakespearean classic was performed live on stage, but was shot cinematically to be edited into a film. This presented Elliot with a completely new way of writing music. The film plays for a special one-night only event via Fathom Events on June 22nd at theaters around the country. Beyond that, Elliot also composed a 3-act ballet adaptation of Othello as well as another play directed by Julie Taymor starring Anne Hathaway called Grounded. Elliot discusses how he wrote the score for Grounded just from Anne Hathaway's voice. We also discuss his Symphony In G# Minor, which was released on CD/Digital last month. Elliot describes what goes through his mind when he writes a symphony vs film or stage. And finally Elliot gives his thoughts on the complaints Harry Gregson-Williams made when Michael Mann's Blackhat was released and to Harry's surprise had most of his score replaced. It's a true honor to have Elliot back on Film.Music.Media for another insightful and supremely interesting chat. Interview Conducted By: Kaya Savas Special Thanks: Elliot Goldenthal Jeff Sanderson Ryan Mazie Chasen &amp; Company

Composer Interview: Elliot Goldenthal (June 18, 2015)

[Watch the video interview on our YouTube Channel] On this episode of All Access we are so honored to be joined by the simply amazing Alan Silvestri. Alan's work as a composer truly needs no introduction as he has given us some of the most iconic scores of all-time. We discuss his background and path to composing, and how his beginning in jazz led him to end up working on small productions. He recounts the first time he ever met Robert Zemeckis, and how he came onboard to score Romancing The Stone. Alan continues to take us through his career highlights including Back To The Future, Forrest Gump, Predator, Cast Away and also his most current score to Robert Zemeckis' Allied. Hear stories such as how the Predator scoring sessions failed to come together in Europe and how he had to re-record in Los Angeles, or how Alan sat with Robert Zemeckis through the first half of Cast Away and could not find a moment he felt that needed score, and Alan opens up about the time he was hired on Pirates Of The Caribbean but was ultimately replaced. We even talk about how Alan and his family decided to start a winery up in Carmel where they live. Alan Silvestri is truly one of the warmest, kindest and most interesting human beings you'll ever meet. Enjoy a truly special discussion with one of the industry's most beloved composers. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Alan Silvestri Sandra Silvestri

<a href="https://www.youtube.com/watch?v=jlkOhDNSkUg" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> On this episode of All Access we are so honored to be joined by the simply amazing Alan Silvestri. Alan's work as a composer truly needs no introduction as he has given us some of the most iconic scores of all-time. We discuss his background and path to composing, and how his beginning in jazz led him to end up working on small productions. He recounts the first time he ever met Robert Zemeckis, and how he came onboard to score Romancing The Stone. Alan continues to take us through his career highlights including Back To The Future, Forrest Gump, Predator, Cast Away and also his most current score to Robert Zemeckis' Allied. Hear stories such as how the Predator scoring sessions failed to come together in Europe and how he had to re-record in Los Angeles, or how Alan sat with Robert Zemeckis through the first half of Cast Away and could not find a moment he felt that needed score, and Alan opens up about the time he was hired on Pirates Of The Caribbean but was ultimately replaced. We even talk about how Alan and his family decided to start a winery up in Carmel where they live. Alan Silvestri is truly one of the warmest, kindest and most interesting human beings you'll ever meet. Enjoy a truly special discussion with one of the industry's most beloved composers. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Alan Silvestri Sandra Silvestri

All Access: Alan Silvestri (November 13, 2016) *Video Interview Available

John Powell

[Watch the video interview on our YouTube Channel] Have you ever wanted to sit down for an hour and half with John Powell and really get to know him and his process fully? Well now you can with our latest installment in the All Access series. We cover everything from John's path into music and what really made him settle down to become a film composer. He takes us through his journey starting out working under Hans Zimmer in the 90's, including teaming up with Harry Gregson-Williams. John talks extensively about his methods and processes, and you'll really get to understand how he analyzes a scene or project. We talk about the state of the industry and why Hollywood's obsession with violence caused him to quit action movies and focus solely on animation. Hear fun little details from his scores across his career, such as when The Bourne Identity director Doug Liman lost a bet that ended up causing him some discomfort to his testicles (yep, it's a John Powell interview after all!). In deep sincerity John describes in immense detail about the historical events of World War 1 that inspired him to take 2 years off of writing scores to focus on his concert piece, A Prussian Requiem which premieres March 2016 and will see an album release later that year. After hearing John speak about it, you will have a full understanding of what drove him to write it. John also shares why he continually tells himself that his music is not good enough and we explore where in terms of quality he is trying to reach. From his favorite drink to what he does outside of music, you'll experience John Powell like you never have before. It was a supreme honor to speak casually, intimately and in-depth about his life and career. Sit back and relax and enjoy the wonderful brilliant mix of genuine sincerity and sarcastic hilarity that is John Powell. Only on Film.Music.Media: All Access. *John's latest score sees him returning to live-action with Pan. We don't discuss it in this interview, but if you'd like to hear John speak on his work on Pan please check out this other interview that FMM's Kaya Savas shot for the IFMCA where John speaks about Pan after accepting his IFMCA Award for How To Train Your Dragon 2. Search "Winners Speak John Powell". Interview Produced &amp; Presented By: Kaya Savas Special Thanks: John Powell Batu Sener

<a href="https://www.youtube.com/watch?v=-E1bIOvlGuI" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> Have you ever wanted to sit down for an hour and half with John Powell and really get to know him and his process fully? Well now you can with our latest installment in the All Access series. We cover everything from John's path into music and what really made him settle down to become a film composer. He takes us through his journey starting out working under Hans Zimmer in the 90's, including teaming up with Harry Gregson-Williams. John talks extensively about his methods and processes, and you'll really get to understand how he analyzes a scene or project. We talk about the state of the industry and why Hollywood's obsession with violence caused him to quit action movies and focus solely on animation. Hear fun little details from his scores across his career, such as when The Bourne Identity director Doug Liman lost a bet that ended up causing him some discomfort to his testicles (yep, it's a John Powell interview after all!). In deep sincerity John describes in immense detail about the historical events of World War 1 that inspired him to take 2 years off of writing scores to focus on his concert piece, A Prussian Requiem which premieres March 2016 and will see an album release later that year. After hearing John speak about it, you will have a full understanding of what drove him to write it. John also shares why he continually tells himself that his music is not good enough and we explore where in terms of quality he is trying to reach. From his favorite drink to what he does outside of music, you'll experience John Powell like you never have before. It was a supreme honor to speak casually, intimately and in-depth about his life and career. Sit back and relax and enjoy the wonderful brilliant mix of genuine sincerity and sarcastic hilarity that is John Powell. Only on Film.Music.Media: All Access. *John's latest score sees him returning to live-action with Pan. We don't discuss it in this interview, but if you'd like to hear John speak on his work on Pan please check out this other interview that FMM's Kaya Savas shot for the IFMCA where John speaks about Pan after accepting his IFMCA Award for How To Train Your Dragon 2. Search "Winners Speak John Powell". Interview Produced &amp; Presented By: Kaya Savas Special Thanks: John Powell Batu Sener

All Access: John Powell (September 10, 2015) *Video Interview Available

[Watch the video interview on our YouTube Channel] On this "All Access" we sit down with Fargo composer Jeff Russo to examine his process and approach to scoring in intricate detail. Jeff tells us some wild stories about his initial path as a singer/songwriter and how that eventually led him to film and TV composing. We look into his work for Fargo specifically and what his approach for Season 2 was as he collaborated with show runner Noah Hawley. Jeff shares many amazing memories from his time on the road including a special moment that sticks in his mind more than any other. We also discuss juggling multiple projects at once, and what Jeff likes to do outside the studio when he has free time. Enjoy another supremely entertaining and informative episode of All Access with one of the best composers working in television. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Jeff Russo Jana Davidoff Andrew Cohen CW3PR

<a href="https://www.youtube.com/watch?v=D9xBBvhi3WM" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> On this "All Access" we sit down with Fargo composer Jeff Russo to examine his process and approach to scoring in intricate detail. Jeff tells us some wild stories about his initial path as a singer/songwriter and how that eventually led him to film and TV composing. We look into his work for Fargo specifically and what his approach for Season 2 was as he collaborated with show runner Noah Hawley. Jeff shares many amazing memories from his time on the road including a special moment that sticks in his mind more than any other. We also discuss juggling multiple projects at once, and what Jeff likes to do outside the studio when he has free time. Enjoy another supremely entertaining and informative episode of All Access with one of the best composers working in television. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Jeff Russo Jana Davidoff Andrew Cohen CW3PR

All Access: Jeff Russo (December 14, 2015) *Video Interview Available

[Watch the video interview on our YouTube Channel] Earlier this year, we had a fantastic All Access with How To Train Your Dragon trilogy writer/director Dean DeBlois and John Powell. But for our 3rd All Access with John, we wanted to explore the last chapter in the HTTYD trilogy from John's point of view as well as take the opportunity to revisit some stories that we touched upon way back in our first All Access. Part reboot and part new examination, John talks about his path to becoming a composer as we examine his career's beginnings. We tackle a variety of different topics as we always do as John opens up about his process and approach to writing music to picture. John reflects back on the How To Train Your Dragon trilogy, specifically how he found his own life reflected upon the films. We also talk a lot about ending the trilogy and how John carefully crafted the score. Sitting down with John Powell is always a pleasure and joy, and it's terrific to have him back on a brand new All Access! A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

<a href="https://www.youtube.com/watch?v=cCHHu4nxud4" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> Earlier this year, we had a fantastic All Access with How To Train Your Dragon trilogy writer/director Dean DeBlois and John Powell. But for our 3rd All Access with John, we wanted to explore the last chapter in the HTTYD trilogy from John's point of view as well as take the opportunity to revisit some stories that we touched upon way back in our first All Access. Part reboot and part new examination, John talks about his path to becoming a composer as we examine his career's beginnings. We tackle a variety of different topics as we always do as John opens up about his process and approach to writing music to picture. John reflects back on the How To Train Your Dragon trilogy, specifically how he found his own life reflected upon the films. We also talk a lot about ending the trilogy and how John carefully crafted the score. Sitting down with John Powell is always a pleasure and joy, and it's terrific to have him back on a brand new All Access! A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

John Powell (Composer: How To Train Your Dragon 3)

Lesley Barber

Composer Lesley Barber takes some time to share her journey to becoming a composer and some insights into her process. Lesley's talents and versatility have brought us memorable scores to films such as Hysterical Blindness, Mansfield Park, You Can Count On Me, and recently the critically-acclaimed Manchester By The Sea. We chat about her process for Manchester By The Sea including reconnecting with writer/director Kenneth Lonergan for their second film together. Lesley explains how she came up with the inspiration to utilize vocals in her score, and how she navigated a heavy subject matter as well as source music. Lesley also gives her views on her score being rejected from Oscar consideration due to the use of classical pieces in the film. Lesley's unique style and strong talents as a musical storyteller make this a fun and fascinating interview for all. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Lesley Barber Chandler Poling Adrianna Perez White Bear PR

Composer Lesley Barber takes some time to share her journey to becoming a composer and some insights into her process. Lesley's talents and versatility have brought us memorable scores to films such as Hysterical Blindness, Mansfield Park, You Can Count On Me, and recently the critically-acclaimed Manchester By The Sea. We chat about her process for Manchester By The Sea including reconnecting with writer/director Kenneth Lonergan for their second film together. Lesley explains how she came up with the inspiration to utilize vocals in her score, and how she navigated a heavy subject matter as well as source music. Lesley also gives her views on her score being rejected from Oscar consideration due to the use of classical pieces in the film. Lesley's unique style and strong talents as a musical storyteller make this a fun and fascinating interview for all. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Lesley Barber Chandler Poling Adrianna Perez White Bear PR

Composer Interview: Lesley Barber  (February 21, 2017)

Klaus Badelt

[Watch the video interview on our YouTube Channel] On this episode of All Access we are incredibly honored to be welcoming Klaus Badelt. Klaus quickly rose to prominence while working under great composers such as Hans Zimmer and Michael Kamen. Hear Klaus share what led him to pursue film music as a career, and stories from some of his most beloved scores. We dive into such scores as Ned Kelly, The Time Machine, Beat The Drum, Invincible, The Pledge, Rescue Dawn and Pirates Of The Caribbean. Klaus shares details about the hectic journey of working on the first Pirates Of The Caribbean, what Werner Herzog is like as a director, living in China to compose The Promise and the 2008 Olympics Closing Ceremony, the bizarre experience of working on Basic with John McTiernan, and the approach he took on his newest score to The Warrior’s Gate. Klaus has built an amazing career and has always continually pursued new opportunities that appealed to him, from composing for French cinema to starting his own tech company with Kinonation. Klaus' current focus is with his company Kinonation where he is solving the issue of worldwide distribution by letting content makers keep ownership of their content while getting it front of a wide audience via top streaming companies such as Amazon, Hulu and Netflix for no cost. We hope you enjoy this fantastic discussion with the kind, passionate and talented Klaus Badelt. Interview Produced &amp; Presented By:  Kaya Savas Special Thanks:  Klaus Badelt

<a href="https://www.youtube.com/watch?v=32Ne8ubcEug" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> On this episode of All Access we are incredibly honored to be welcoming Klaus Badelt. Klaus quickly rose to prominence while working under great composers such as Hans Zimmer and Michael Kamen. Hear Klaus share what led him to pursue film music as a career, and stories from some of his most beloved scores. We dive into such scores as Ned Kelly, The Time Machine, Beat The Drum, Invincible, The Pledge, Rescue Dawn and Pirates Of The Caribbean. Klaus shares details about the hectic journey of working on the first Pirates Of The Caribbean, what Werner Herzog is like as a director, living in China to compose The Promise and the 2008 Olympics Closing Ceremony, the bizarre experience of working on Basic with John McTiernan, and the approach he took on his newest score to The Warrior’s Gate. Klaus has built an amazing career and has always continually pursued new opportunities that appealed to him, from composing for French cinema to starting his own tech company with Kinonation. Klaus' current focus is with his company Kinonation where he is solving the issue of worldwide distribution by letting content makers keep ownership of their content while getting it front of a wide audience via top streaming companies such as Amazon, Hulu and Netflix for no cost. We hope you enjoy this fantastic discussion with the kind, passionate and talented Klaus Badelt. Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Klaus Badelt

All Access: Klaus Badelt (March 1, 2017) *Video Interview Available

Abel Korzeniowski

[Watch the video interview on our YouTube Channel] On this episode of All Access, we sit down with composer Abel Korzeniowski whose rich orchestral style has quickly made him one of the most respected and in-demand auteur composers working in the industry. Abel shares his background and how he found the path to film composing. We also discusses how he moved from his native country of Poland to the United States to pursue his career further. We examine Abel's scores throughout his career and what it was like working with different directors such as Tom Ford and Madonna, including specific approaches to many of Abel's scores like Nocturnal Animals and Penny Dreadful. We also discuss electronics in music and what their role is in the music he writes. All in all this is a great all-encompassing discussion with such an incredible talent and person. Abel continues to breath life into the projects he works on, and it's a real pleasure to have him as a guest on this episode of All Access! Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Fernando Velázquez Jana Davidoff Gabriella Belzer CW3PR

<a href="https://www.youtube.com/watch?v=iZUXzIej9sA" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> On this episode of All Access, we sit down with composer Abel Korzeniowski whose rich orchestral style has quickly made him one of the most respected and in-demand auteur composers working in the industry. Abel shares his background and how he found the path to film composing. We also discusses how he moved from his native country of Poland to the United States to pursue his career further. We examine Abel's scores throughout his career and what it was like working with different directors such as Tom Ford and Madonna, including specific approaches to many of Abel's scores like Nocturnal Animals and Penny Dreadful. We also discuss electronics in music and what their role is in the music he writes. All in all this is a great all-encompassing discussion with such an incredible talent and person. Abel continues to breath life into the projects he works on, and it's a real pleasure to have him as a guest on this episode of All Access! Interview Produced &amp; Presented By: Kaya Savas Special Thanks: Fernando Velázquez Jana Davidoff Gabriella Belzer CW3PR

All Access: Abel Korzeniowski (December 18, 2016) *Video Interview Available

Martin McDonagh

SPOILER WARNING: Please note that we discuss major plot points from Three Billboards Outside Ebbing, Missouri in this interview. Please watch the film before listening. With films like In Bruges, Seven Psychopaths and Three Billboards Outside Ebbing, Missouri, Martin McDonagh has very quickly become one of the best auteur filmmakers working today. His dialogue is sharp and focused, and his characters are so individually unique and organic. Over his three feature films he has also established a great working relationship with composer Carter Burwell. We were able to catch Martin very briefly on the phone for a quick discussion on his writing process and how he works with Carter. Martin talks about why he pursued filmmaking after becoming known as a playwright, and how his Oscar-winning short film helped launch his career. We discuss his writing approach and technique to make sure each character feels authentic with their own voice and how he doesn't listen to music during his actual writing time. We then talk about how he and Carter Burwell work together, and how as a director he has full trust in his composer and doesn't interfere in the process beyond giving him his initial direction. Martin is such a great storyteller and a filmmaker who utilizes score in such a brilliant way; it was fantastic to have him as guest for this quick chat about his process. Special Thanks: Martin McDonagh, Paula Woods, Knight Hall Agency Ltd

SPOILER WARNING: Please note that we discuss major plot points from Three Billboards Outside Ebbing, Missouri in this interview. Please watch the film before listening. With films like In Bruges, Seven Psychopaths and Three Billboards Outside Ebbing, Missouri, Martin McDonagh has very quickly become one of the best auteur filmmakers working today. His dialogue is sharp and focused, and his characters are so individually unique and organic. Over his three feature films he has also established a great working relationship with composer Carter Burwell. We were able to catch Martin very briefly on the phone for a quick discussion on his writing process and how he works with Carter. Martin talks about why he pursued filmmaking after becoming known as a playwright, and how his Oscar-winning short film helped launch his career. We discuss his writing approach and technique to make sure each character feels authentic with their own voice and how he doesn't listen to music during his actual writing time. We then talk about how he and Carter Burwell work together, and how as a director he has full trust in his composer and doesn't interfere in the process beyond giving him his initial direction. Martin is such a great storyteller and a filmmaker who utilizes score in such a brilliant way; it was fantastic to have him as guest for this quick chat about his process. Special Thanks: Martin McDonagh, Paula Woods, Knight Hall Agency Ltd

Writer/Director Interview: Martin McDonagh

Dean DeBlois

[Watch the video interview on our YouTube Channel] **SPOILER WARNING**: This interview contains spoilers for the entire How To Train Your Dragon trilogy. Writer/director Dean DeBlois and composer John Powell went on an immense 10-year journey together when they embarked on the first How To Train Your Dragon movie over a decade ago. Now, the trilogy has been completed with a beautiful 3-act structure that has given us three films filled to the brim with beautiful and emotionally resonating storytelling. Now, for a truly special All Access, we are joined by both Dean and John for an unforgettable conversation about the filmmaking process. We dive into all 3 movies starting from the beginning. Learn about how both Dean and John approached their different roles, and how they worked together. Other topics include the overall animation process, working with temp scores, working within a PG rating but still pushing boundaries in storytelling, finding themes, finding the look and tone of the films, where inspiration comes from, how to know when something is working vs not working, how to handle sequels, and so much more. This entire interview is an immense exploration into filmmaking and storytelling, and should not be missed. So pour some wine, pull up a chair, and join Dean and John for a conversation full of laughs, surprises and much more in this in-depth exploration of the filmmaking process, the director/composer relationship, and why we love to tell stories through images and music. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

<a href="https://www.youtube.com/watch?v=L0BGRqwPGHM" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> **SPOILER WARNING**: This interview contains spoilers for the entire How To Train Your Dragon trilogy. Writer/director Dean DeBlois and composer John Powell went on an immense 10-year journey together when they embarked on the first How To Train Your Dragon movie over a decade ago. Now, the trilogy has been completed with a beautiful 3-act structure that has given us three films filled to the brim with beautiful and emotionally resonating storytelling. Now, for a truly special All Access, we are joined by both Dean and John for an unforgettable conversation about the filmmaking process. We dive into all 3 movies starting from the beginning. Learn about how both Dean and John approached their different roles, and how they worked together. Other topics include the overall animation process, working with temp scores, working within a PG rating but still pushing boundaries in storytelling, finding themes, finding the look and tone of the films, where inspiration comes from, how to know when something is working vs not working, how to handle sequels, and so much more. This entire interview is an immense exploration into filmmaking and storytelling, and should not be missed. So pour some wine, pull up a chair, and join Dean and John for a conversation full of laughs, surprises and much more in this in-depth exploration of the filmmaking process, the director/composer relationship, and why we love to tell stories through images and music. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

Dean DeBlois & John Powell (Director & Composer: How To Train Your Dragon Trilogy)

Michael Giacchino

[Watch the video interview on our YouTube Channel] Michael Giacchino's scores have brought to life some of our most beloved stories whether it's a videogame, TV series or film. He has worked across every genre, and has built found relationships with some of the best filmmakers in the industry. But It's his amazing talents as a storyteller that make people gravitate towards his music. For this All Access we were able to squeeze some time with Michael during his press day for Jojo Rabbit. We dive right in and discuss the approach for Jojo Rabbit, and how director Taika Waititi sought him out to score the film. Michael talks about his childhood and his path to becoming a composer, which wasn't the original plan at all. Michael's passion was filmmaking, and he went to film school to become a director but his side hobby in music ended up setting him on the path he's on now. We talk about subjects such as working with directors who are friends, and what happens when there's a disagreement. We also cover topics like knowing the business side of the industry, where the first note comes from, how to tackle sequels, how to jump into an established franchise, why Michael prefers not to read the script, if Michael will ever return to games or TV, where he stands in the "Marvel is not cinema" debate, what he and Matt Reeves plan on doing with The Batman, and what has been the worst butchering of his last name so far! Michael is one of the most established auteur composers working today, and it was a true pleasure to have him as a guest on All Access. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

<a href="https://www.youtube.com/watch?v=cWEFC8Clv7g" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> Michael Giacchino's scores have brought to life some of our most beloved stories whether it's a videogame, TV series or film. He has worked across every genre, and has built found relationships with some of the best filmmakers in the industry. But It's his amazing talents as a storyteller that make people gravitate towards his music. For this All Access we were able to squeeze some time with Michael during his press day for Jojo Rabbit. We dive right in and discuss the approach for Jojo Rabbit, and how director Taika Waititi sought him out to score the film. Michael talks about his childhood and his path to becoming a composer, which wasn't the original plan at all. Michael's passion was filmmaking, and he went to film school to become a director but his side hobby in music ended up setting him on the path he's on now. We talk about subjects such as working with directors who are friends, and what happens when there's a disagreement. We also cover topics like knowing the business side of the industry, where the first note comes from, how to tackle sequels, how to jump into an established franchise, why Michael prefers not to read the script, if Michael will ever return to games or TV, where he stands in the "Marvel is not cinema" debate, what he and Matt Reeves plan on doing with The Batman, and what has been the worst butchering of his last name so far! Michael is one of the most established auteur composers working today, and it was a true pleasure to have him as a guest on All Access. A Film.Music.Media Interview | Produced &amp; Presented by Kaya Savas

Michael Giacchino (Composer: Jojo Rabbit)

Henry Jackman

[Watch the video interview on our YouTube Channel] Henry Jackman's versatility has always been one of his strongest assets as a storyteller. Henry has given us amazing scores across a variety of genres, and his ability to shift gears drastically from project to project is nothing short of impressive. On our last All Access with Henry we covered a lot of ground. This time we still do plenty of ground covering, but with more focus on recent projects such as Jumanji: Welcome To The Jungle, The Predator and Ralph Breaks The Internet. Henry reminds of his amazing path to becoming a composer including working with Hans Zimmer and what he remembers from his first solo score with Monsters vs. Aliens. Henry also talks about the phone call he had with Alan Silvestri about scoring The Predator, which happens to be one of Henry’s favorite scores and the reason why he fell in love with film music. Other topics include what characteristics a great director needs to have, tackling different genres, the recipe for doing sequels, and Henry talks briefly of what we can expect from his work in 2019. Henry helps us close out 2018 with another wonderful All Access! Interview Produced &amp; Presented by Kaya Savas Special Thanks: Henry Jackman, Matt Justmann, Allison Swift

<a href="https://www.youtube.com/watch?v=QnGU9je4lss" rel="nofollow" target="_blank">[Watch the video interview on our YouTube Channel]</a> Henry Jackman's versatility has always been one of his strongest assets as a storyteller. Henry has given us amazing scores across a variety of genres, and his ability to shift gears drastically from project to project is nothing short of impressive. On our last All Access with Henry we covered a lot of ground. This time we still do plenty of ground covering, but with more focus on recent projects such as Jumanji: Welcome To The Jungle, The Predator and Ralph Breaks The Internet. Henry reminds of his amazing path to becoming a composer including working with Hans Zimmer and what he remembers from his first solo score with Monsters vs. Aliens. Henry also talks about the phone call he had with Alan Silvestri about scoring The Predator, which happens to be one of Henry’s favorite scores and the reason why he fell in love with film music. Other topics include what characteristics a great director needs to have, tackling different genres, the recipe for doing sequels, and Henry talks briefly of what we can expect from his work in 2019. Henry helps us close out 2018 with another wonderful All Access! Interview Produced &amp; Presented by Kaya Savas Special Thanks: Henry Jackman, Matt Justmann, Allison Swift

All Access: Henry Jackman - Episode 2 (Ralph Breaks The Internet, The Predator)

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