Paul Saunderson

Our latest episode of Soundtracking is with composer Paul Saunderson, who has scored the BBC documentary Earth, which is available to watch now on the BBC iPlayer. Hosted by the wonderful Chris Packham, the show explores some of the most significant moments in our planet's history, from asteroid bombardments to extreme changes in climate to the collision of continents, using groundbreaking science and effects. The fact there are informed recreations of seismic events in the past affords Paul plenty of scope to push the sonic envelope - almost as if he were scoring a science fiction film rather than a traditional documentary. The results are magnificent.

Episode 382: Paul Saunderson On His Score For Earth

Ludwig Göransson

What a joy to welcome Ludwig Göransson back for a fourth time to reflect upon the incredible music he provided to Christopher Nolan for Oppenheimer. And in person, too!

Episode 381: Ludwig Göransson Talks Oppenheimer

Kathryn Ferguson

In a change to our billed interview with Ludwig Göransson, we're putting out Edith's chat with Kathryn Ferguson. Kathryn directed the Sinéad O'Connor documentary, Nothing Compares, which very specifically concentrates on the tumultuous period in her life between 1987 and 1993, during which she became a global sensation, but also the victim of a character assassination in the media, having spoken out against abuse in the Catholic church. In a cruel twist of fate, Kathryn and Edith spoke just three days before Sinéad passed away, but - with Kathryn's blessing - we thought it timely that we share the story of the beautiful, powerful and illuminating film.

Episode 380: Kathryn Ferguson On Sinéad O'Connor

Recorded before the SAG strike began, our latest guest on Soundtracking is the legend that is Christopher Nolan. Criminally, it's the first opportunity Edith has had to speak to him on the podcast, so it was an absolute joy to welcome him on to discuss Oppenheimer, which sees him reunited with our good friend, Ludwig Göransson.

Episode 379: Christopher Nolan On The Music Of Oppenheimer

Greta Gerwig

In an interview recorded before the actors strike began, Greta Gerwig returns to Soundtracking for a third time, to discuss the music of her extraordinary take on Barbie, which is witty, funny, smart and cerebral. Among the many points for discussion are Mark Ronson's involvement, who has a key hand to play in both the score and frankly incredible soundtrack.

Episode 378: Greta Gerwig On The Music Of Barbie

Eddie Hamilton

Our guests today are Cécile Tournesac and Eddie Hamilton, who are respectively the music editor and editor of Mission Impossible: Dead Reckoning (Part I), directed by our old friend Christopher McQuaurrie, and scored by our even older friend, Lorne Balfe.

Episode 377: Cécile Tournesac & Eddie Hamilton

James Mangold

We love James Mangold, so it is a joy to welcome him back to Soundtracking to discuss the final instalment of the Indy saga, and, of course, the unsurpassable John Williams.

Episode 376: James Mangold On The Music Of Indiana Jones & The Dial Of Destiny

Charlie Brooker

As promised, we have a bonus episode of Soundtracking for you this week, as the brilliant Charlie Brooker joins me to discuss the inimitable Black Mirror. All 6 episodes of the new season are available to watch on Netflix now, and do not disappoint. Music is a central part of the show, from the needle drops to the composers he's employed, including friends of the show Daniel Pemberton, Max Richter &amp; Clint Mansell.

Episode 375: Charlie Brooker On The Music Of Black Mirror

Wes Anderson

Bit of a legend alert for you now, as we welcome the genius that is Wes Anderson to Soundtracking. Wes's latest offering is quite difficult to describe in a few words. But suffice to say it is laugh-out-loud funny in parts, incredibly moving in others, features a terrific ensemble cast, and once again sees him work with composer Alexandre Desplat and our Jarvis Cocker.

Episode 374: Wes Anderson On The Music Of Asteroid City

Gary Carpenter

Lesley Mackie

We are celebrating the 50th anniversary of The Wicker Man this week in the company of Lesley Mackie and Gary Carpenter. Lesley appeared as Daisy, while Gary was the film's associate music director, who helped assemble the band Magnet, who performed the songs composed by Paul Giovanni.

Episode 373: Lesley Mackie & Gary Carpenter On The Wicker Man

In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films.https://twitter.com/soundtrackinguk https://www.facebook.com/Soundtrackingwithedithbowman/ https://play.spotify.com/user/soundtrackingwithedithbowman https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x

This show is such a lovely behind-the-scenes look at film scores via a very relaxed and natural chat with the composers themselves. Thoroughly enjoyed. The Isobel Waller-Bridge episode was an absolute tonic. 👌🏼

👏🏼👏🏼👏🏼👏🏼👏🏼

Thank you for showcasing Hans Zimmer&#39;s wonderful music from the film. Jon&#39;s a knowledgeable filmmaker and I&#39;m glad he used Hans in the new movie.

Great Hans showcase!

In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. <a href="https://twitter.com/soundtrackinguk" rel="nofollow" target="_blank">https://twitter.com/soundtrackinguk</a> <a href="https://www.facebook.com/Soundtrackingwithedithbowman/" rel="nofollow" target="_blank">https://www.facebook.com/Soundtrackingwithedithbowman/</a> <a href="https://play.spotify.com/user/soundtrackingwithedithbowman" rel="nofollow" target="_blank">https://play.spotify.com/user/soundtrackingwithedithbowman</a> <a href="https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x" rel="nofollow" target="_blank">https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x</a>

Soundtracking with Edith Bowman

Edward Norton

We're very excited about our latest episode of Soundtracking, which sees Edith joined by a supremely gifted actor, Edward Norton. Well, we say actor, but he's a little bit more than that, having written, produced and directed his latest project, the neo-noir Motherless Brooklyn.  Based on a novel by Jonathan Lethem, Motherless Brooklyn tells the story of Lionel Essrog, a private investigator with Tourette's syndrome trying to solve the murder of his mentor.  The film serves up a sonic feast - from our Daniel Pemberton's wonky jazz-infused score to an original song by Thom Yorke featuring Flea and a considerable contribution from virtuoso horn player, Wynton Marsalis.  We should say it also contains spoilers - but for Chinatown rather than Edward's own film!

We're very excited about our latest episode of Soundtracking, which sees Edith joined by a supremely gifted actor, Edward Norton. Well, we say actor, but he's a little bit more than that, having written, produced and directed his latest project, the neo-noir Motherless Brooklyn. Based on a novel by Jonathan Lethem, Motherless Brooklyn tells the story of Lionel Essrog, a private investigator with Tourette's syndrome trying to solve the murder of his mentor. The film serves up a sonic feast - from our Daniel Pemberton's wonky jazz-infused score to an original song by Thom Yorke featuring Flea and a considerable contribution from virtuoso horn player, Wynton Marsalis. We should say it also contains spoilers - but for Chinatown rather than Edward's own film!

Episode 171: Edward Norton On The Music Of Motherless Brooklyn 

Bradley Cooper

As if it weren't enough writing, producing, directing and starring in a movie, you'd surely have the right to feel pretty smug if said movie got rave reviews across the board too. Well, that's exactly what's happened with Bradley Cooper and A Star Is Born - though he was anything but smug when he joined Edith to discuss his achievements in our latest episode of Soundtracking. If anything, one gets the impression he's genuinely stunned and humbled by how well his work has been received. A remake of the 1937 film of the same name, it stars Bradly and Stefani Germanotta (better known as Lady Gaga), and follows a hard-drinking musician who discovers and falls in love with a young singer. It marks the third remake of the 1937 original, which was adapted into a 1954 musical starring Judy Garland and James Mason and then remade as a 1976 rock musical with Barbra Streisand and Kris Kristofferson. And, just as Lady G proves to quite the actor, so it turns out Bradley has a really rather unexpectedly brilliant singing voice …

As if it weren't enough writing, producing, directing and starring in a movie, you'd surely have the right to feel pretty smug if said movie got rave reviews across the board too. Well, that's exactly what's happened with Bradley Cooper and A Star Is Born - though he was anything but smug when he joined Edith to discuss his achievements in our latest episode of Soundtracking. If anything, one gets the impression he's genuinely stunned and humbled by how well his work has been received. A remake of the 1937 film of the same name, it stars Bradly and Stefani Germanotta (better known as Lady Gaga), and follows a hard-drinking musician who discovers and falls in love with a young singer. It marks the third remake of the 1937 original, which was adapted into a 1954 musical starring Judy Garland and James Mason and then remade as a 1976 rock musical with Barbra Streisand and Kris Kristofferson. And, just as Lady G proves to quite the actor, so it turns out Bradley has a really rather unexpectedly brilliant singing voice …

Episode 109: Bradley Cooper On Lady Gaga & A Star Is Born

Quentin Tarantino

What better way to start the fourth year of our film music podcast Soundtracking than with one of the undisputed kings of the art, Quentin Tarantino.  His new movie Once Upon A Time In Hollywood is everything you'd hope for when it comes to the deployment of pop cues, and also features score by the likes of Bernard Herrmann and Maurice Jarre.  Starring Leonardo DiCaprio, Brad Pitt and Margot Robbie among many others, Once Upon A Time is set in 1969 Los Angeles, where an ageing television actor and his stunt double navigate the changing Hollywood film industry. It blends fiction with real events - most notably the murder of Sharon Tate at the hands of the Manson family.

What better way to start the fourth year of our film music podcast Soundtracking than with one of the undisputed kings of the art, Quentin Tarantino. His new movie Once Upon A Time In Hollywood is everything you'd hope for when it comes to the deployment of pop cues, and also features score by the likes of Bernard Herrmann and Maurice Jarre. Starring <a href="https://en.wikipedia.org/wiki/Leonardo_DiCaprio" rel="nofollow" target="_blank">Leonardo DiCaprio</a>, <a href="https://en.wikipedia.org/wiki/Brad_Pitt" rel="nofollow" target="_blank">Brad Pitt</a> and <a href="https://en.wikipedia.org/wiki/Margot_Robbie" rel="nofollow" target="_blank">Margot Robbie</a> among many others, Once Upon A Time is set in 1969 <a href="https://en.wikipedia.org/wiki/Los_Angeles" rel="nofollow" target="_blank">Los Angeles</a>, where an ageing television actor and his stunt double navigate the changing Hollywood film industry. It blends fiction with real events - most notably the murder of Sharon Tate at the hands of the Manson family.

Episode 155: Quentin Tarantino On The Music Of Once Upon A Time In Hollywood

Edgar Wright

Like Martin Scorsese, Quentin Tarantino and Danny Boyle, Edgar Wright is one of those filmmakers who's become synonymous with an expert use of music in his work.  As well as having collaborated with composers such as Nigel Godrich, Steven Price and David Arnold, he's also deployed source cues to maximum effect in every single one of his projects - from offbeat comedy classic Spaced to the ridiculously entertaining Cornetto Trilogy. It's thus an absolute delight to welcome him to Soundtracking - a weekly podcast in which directors, writers, actors and musicians discuss the sounds of the screen. Edgar's new film Baby Driver recently premiered at South By Southwest in Texas to great acclaim, but we'll invite him back to talk more about that in June when it gets a general release. Suffice to say, the soundtrack features in excess of 35 songs ... In the meantime, we're going to reflect upon a CV that includes Shaun of The Dead, Hot Fuzz, World's End and Scott Pilgrim - not to mention Spaced - the wonderfully postmodern TV show with which he made his name ...

Like Martin Scorsese, Quentin Tarantino and Danny Boyle, Edgar Wright is one of those filmmakers who's become synonymous with an expert use of music in his work. As well as having collaborated with composers such as Nigel Godrich, Steven Price and David Arnold, he's also deployed source cues to maximum effect in every single one of his projects - from offbeat comedy classic Spaced to the ridiculously entertaining Cornetto Trilogy. It's thus an absolute delight to welcome him to Soundtracking - a weekly podcast in which directors, writers, actors and musicians discuss the sounds of the screen. Edgar's new film Baby Driver recently premiered at South By Southwest in Texas to great acclaim, but we'll invite him back to talk more about that in June when it gets a general release. Suffice to say, the soundtrack features in excess of 35 songs ... In the meantime, we're going to reflect upon a CV that includes Shaun of The Dead, Hot Fuzz, World's End and Scott Pilgrim - not to mention Spaced - the wonderfully postmodern TV show with which he made his name ...

Episode 34: An Edgar Wright Musical Retrospective

In what is surely one of the biggest cinematic events of all time, let alone the year, Avengers: Infinity War hit screens around the globe last week, breaking records galore and garnering widespread critical acclaim to boot. So it's with great excitement that we welcome the directors Anthony and Joe Russo to Soundtracking. Boasting a stellar ensemble cast, Infinity War sees numerous characters from the Marvel Universe join forces to prevent intergalactic despot Thanos from destroying, well, everything.  Don't worry, though, there are no further spoilers here, not least because Edith was only allowed to see 20 minutes of the film at the time of recording the interview.  What we do have for you is Anthony and Joe talking about Alan Silvestri's score, their love of needle-drop, Henry Jackman's work on Captain America, the genius that is Mark Mothersbaugh, David Schwartz's screwball approach to the music in Arrested Development and reflections upon Community, which saw the brothers collaborate with Ludwig Göransson. 

In what is surely one of the biggest cinematic events of all time, let alone the year, Avengers: Infinity War hit screens around the globe last week, breaking records galore and garnering widespread critical acclaim to boot. So it's with great excitement that we welcome the directors Anthony and Joe Russo to Soundtracking. Boasting a stellar ensemble cast, Infinity War sees numerous characters from the Marvel Universe join forces to prevent intergalactic despot Thanos from destroying, well, everything.  Don't worry, though, there are no further spoilers here, not least because Edith was only allowed to see 20 minutes of the film at the time of recording the interview.  What we do have for you is Anthony and Joe talking about Alan Silvestri's score, their love of needle-drop, Henry Jackman's work on Captain America, the genius that is Mark Mothersbaugh, David Schwartz's screwball approach to the music in Arrested Development and reflections upon Community, which saw the brothers collaborate with Ludwig Göransson.

Episode 88: The Russo Brothers On The Music Of Avengers: Infinity War, Captain America, Community & More

He's back! Having joined us to reflect upon his career to date in Episode 34, Edgar Wright returns to concentrate on his latest project Baby Driver, which has received widespread critical acclaim as it wows cinema-goers around the world. The film tells the story of young getaway driver Baby, who uses music to calm his nerves in the face of chronic tinnitus. As such, he's listening to his iPod throughout much of the narrative. It's an audacious premise which - while posing technical challenges - also gave Edgar the opportunity to share a wealth of sonic gems from his record collection. With 35 tunes in Baby Driver, there's certainly plenty to discuss - from the specific Jon Spencer track that inspired the movie 20 years ago to the structural delights of Barry White, Queen and Focus.  It also features a personal favourite of Edith's, which seemed as good a place as any to start the conversation  ...

He's back! Having joined us to reflect upon his career to date in Episode 34, Edgar Wright returns to concentrate on his latest project Baby Driver, which has received widespread critical acclaim as it wows cinema-goers around the world. The film tells the story of young getaway driver Baby, who uses music to calm his nerves in the face of chronic tinnitus. As such, he's listening to his iPod throughout much of the narrative. It's an audacious premise which - while posing technical challenges - also gave Edgar the opportunity to share a wealth of sonic gems from his record collection. With 35 tunes in Baby Driver, there's certainly plenty to discuss - from the specific Jon Spencer track that inspired the movie 20 years ago to the structural delights of Barry White, Queen and Focus. It also features a personal favourite of Edith's, which seemed as good a place as any to start the conversation ...

Episode 47: Edgar Wright On The Music Of Baby Driver

Jordan Peele

We haven't featured as much horror as we'd like on Soundtracking, so it really is a great thrill for us to welcome the man of the moment in that particular field, Jordan Peele. Having forged a hugely successful career as a comedian and actor, Jordan won an Oscar and numerous other accolades for his debut feature, Get Out, which blended traditional genre tropes with social observation to create something altogether fresh. Now he follows it up with the equally brilliant Us, in which a family is confronted by a group of doppelgängers. Both films were scored by Michael Abels, who had never previously worked on a movie until Jordan came along. We'll hear plenty of Michael's work, as well as some of the truly brilliant needle drops that are used across the Get Out and Us.

We haven't featured as much horror as we'd like on Soundtracking, so it really is a great thrill for us to welcome the man of the moment in that particular field, Jordan Peele. Having forged a hugely successful career as a comedian and actor, Jordan won an Oscar and numerous other accolades for his debut feature, Get Out, which blended traditional genre tropes with social observation to create something altogether fresh. Now he follows it up with the equally brilliant Us, in which a family is confronted by a group of doppelgängers. Both films were scored by Michael Abels, who had never previously worked on a movie until Jordan came along. We'll hear plenty of Michael's work, as well as some of the truly brilliant needle drops that are used across the Get Out and Us.

Episode 134: Jordan Peele On The Music Of Get Out & Us

Brad Bird

Not for the first time on this show we're joined by Pixar royalty, which is, frankly, a joy.   Following Edith's chat about Coco with Lee Unkrich &amp; Darla Anderson back in episode 75, we're delighted to welcome writer, director, animator, voice-actor &amp; double Oscar winner Brad Bird - who has just served up another masterclass in movie-making with Incredibles 2. Like Coco, Incredibles 2 is scored by Michael Giacchino, who also worked with Brad on the first film. We also talk about Iron Giant, find out about his introduction to Disney, and discover some of his favourite scores.

Not for the first time on this show we're joined by Pixar royalty, which is, frankly, a joy. Following Edith's chat about Coco with Lee Unkrich &amp; Darla Anderson back in episode 75, we're delighted to welcome writer, director, animator, voice-actor &amp; double Oscar winner Brad Bird - who has just served up another masterclass in movie-making with Incredibles 2. Like Coco, Incredibles 2 is scored by Michael Giacchino, who also worked with Brad on the first film. We also talk about Iron Giant, find out about his introduction to Disney, and discover some of his favourite scores.

Episode 97: Brad Bird On The Music Of Incredibles 2, Pixar & Disney

Christopher McQuarrie

Lorne Balfe

If you want a masterclass in how to score an action movie, you've come to the right place. Because in this episode, director Christopher McQuarrie and composer Lorne Balfe talk us through their stellar work on the genuinely brilliant Mission Impossible: Fallout. As you'll hear, Chris and Lorne are, quite simply, tremendous company. We cover a lot of ground too - from the intricacies of scoring a chase sequence to reworking one of the most famous themes ever. Indeed, one of the obvious challenges faced by Lorne was how to marry Lalo Schifrin's iconic work on the TV series with Christopher's requirements for his very contemporary take on the franchise. Our opening cue Kashmir is an example of how he did it - featuring as it does Lorne's interpretation of Lalo's classic 'Plot' &amp; 'Mission' themes. There's also plenty more of the score to enjoy and some great anecdotes about cinematic folklore. Be warned, while there are no major spoilers, Chris and Lorne do go into the narrative in some detail, so you might wish to wait to listen if you prefer to watch films 'blind'.

If you want a masterclass in how to score an action movie, you've come to the right place. Because in this episode, director Christopher McQuarrie and composer Lorne Balfe talk us through their stellar work on the genuinely brilliant Mission Impossible: Fallout. As you'll hear, Chris and Lorne are, quite simply, tremendous company. We cover a lot of ground too - from the intricacies of scoring a chase sequence to reworking one of the most famous themes ever. Indeed, one of the obvious challenges faced by Lorne was how to marry Lalo Schifrin's iconic work on the TV series with Christopher's requirements for his very contemporary take on the franchise. Our opening cue Kashmir is an example of how he did it - featuring as it does Lorne's interpretation of Lalo's classic 'Plot' &amp; 'Mission' themes. There's also plenty more of the score to enjoy and some great anecdotes about cinematic folklore. Be warned, while there are no major spoilers, Chris and Lorne do go into the narrative in some detail, so you might wish to wait to listen if you prefer to watch films 'blind'.

Episode 117: Christopher McQuarrie & Lorne Balfe On The Music Of Mission Impossible: Fallout (Contains Mild Spoilers)

We're not gonna lie, Greta Gerwig is one of Edith's favourite actors, so all objectivity has gone out of the window during this week's episode of Soundtracking in partnership with the EE BAFTAs. In fairness, everyone seems to agree her directorial debut Lady Bird (which she also wrote) is a triumph. Starring Saoirse Ronan, Laurie Metcalf and Timothee Chalomet, it charts the turbulent relationship of the eponymous teenager and her mother - with the narrative by turns irreverent, hilarious, brutally honest and deeply moving.   The score is provided by Jon Brion, who has that uncanny ability to blend traditional orchestration with a tone that's modern and offbeat.  The soundtrack, meanwhile, is an absolute gem, featuring the likes of The Monkees, John Cale, Justin Timberlake and Reel Big Fish. While it would have been tempting to include super-cool records - for want of a better expression - Greta instead went for songs that her characters would have been listening to at the turn of the Millennium.

We're not gonna lie, Greta Gerwig is one of Edith's favourite actors, so all objectivity has gone out of the window during this week's episode of Soundtracking in partnership with the EE BAFTAs. In fairness, everyone seems to agree her directorial debut Lady Bird (which she also wrote) is a triumph. Starring Saoirse Ronan, Laurie Metcalf and Timothee Chalomet, it charts the turbulent relationship of the eponymous teenager and her mother - with the narrative by turns irreverent, hilarious, brutally honest and deeply moving.   The score is provided by Jon Brion, who has that uncanny ability to blend traditional orchestration with a tone that's modern and offbeat.  The soundtrack, meanwhile, is an absolute gem, featuring the likes of The Monkees, John Cale, Justin Timberlake and Reel Big Fish. While it would have been tempting to include super-cool records - for want of a better expression - Greta instead went for songs that her characters would have been listening to at the turn of the Millennium.

Episode 78: Greta Gerwig On The Music Of Lady Bird

If anyone knows how to use music to maximum effect on screen it's James Gunn. For James is the man behind both Guardians Of The Galaxy volumes, which are as celebrated for their hugely successful Awesome Mixes as his sharp, fun and witty interpretation of the Marvel franchise. In the movies, Star Lord Peter Quill listens to mixtapes given to him by his mother, which are laden with music from 1970's Earth. The songs often play during the action on screen, providing energy and drive to the narrative. As well as the joyous array of source cues, there's Tyler Bates' score, which you'll hear extracts from throughout the course of the conversation.  Unfortunately, we weren't afforded as long with James as we'd have liked, so there was barely time to deal with all the tunes in the Guardians films, let alone anything else.  But he's tremendous value and we still managed to cover plenty of ground. We also play loads of the Awesome Mixes, including tracks by the likes of Redbone, The Runaways, Raspberries and Blue Swede ...

If anyone knows how to use music to maximum effect on screen it's James Gunn. For James is the man behind both Guardians Of The Galaxy volumes, which are as celebrated for their hugely successful Awesome Mixes as his sharp, fun and witty interpretation of the Marvel franchise. In the movies, Star Lord Peter Quill listens to mixtapes given to him by his mother, which are laden with music from 1970's Earth. The songs often play during the action on screen, providing energy and drive to the narrative. As well as the joyous array of source cues, there's Tyler Bates' score, which you'll hear extracts from throughout the course of the conversation. Unfortunately, we weren't afforded as long with James as we'd have liked, so there was barely time to deal with all the tunes in the Guardians films, let alone anything else. But he's tremendous value and we still managed to cover plenty of ground. We also play loads of the Awesome Mixes, including tracks by the likes of Redbone, The Runaways, Raspberries and Blue Swede ...

Episode 39: James Gunn On His Awesome Mixes From Guardians Of The Galaxy

Steven Soderbergh

When Edith sat down with Steven Soderbergh, he immediately told her he'd been listening to our podcast by way of research. That unsettled her a little bit, but we hope you'll agree his homework served him well - such was the magnificence of his company! As a director, he's renowned for his expert use of both needle-drop and score - with Thomas Newman and Cliff Martinez two of his go-to composers. His latest project Logan Lucky sees him reunited with David Holmes, with whom he struck up a most fruitful relationship on Out Of Sight and the Ocean films. And it's with Logan Lucky we began - and David's Original Score Medley that features on the soundtrack to the film ...

When Edith sat down with Steven Soderbergh, he immediately told her he'd been listening to our podcast by way of research. That unsettled her a little bit, but we hope you'll agree his homework served him well - such was the magnificence of his company! As a director, he's renowned for his expert use of both needle-drop and score - with Thomas Newman and Cliff Martinez two of his go-to composers. His latest project Logan Lucky sees him reunited with David Holmes, with whom he struck up a most fruitful relationship on Out Of Sight and the Ocean films. And it's with Logan Lucky we began - and David's Original Score Medley that features on the soundtrack to the film ...

Episode 54: Steven Soderbergh On The Music In His Work

Gareth Edwards

In cinematic terms, it may very well just be the greatest story ever told. With its ground-breaking special effects, unforgettable cast of characters and universal themes, the original Star Wars trilogy has inspired and delighted film goers ever since A New Hope blew everyone away in 1977.  Among those to have felt its force is Gareth Edwards - the man charged with directing the latest addition to the franchise, Rogue One. And it goes without saying that music is central to the impact of George Lucas’s masterpiece – as are the iconic sound effects. John Williams’s score is one of the most famous ever written, while we all mimicked the noise of a Tie-Fighter or lightsaber when we played with the toys as kids. Gareth was only too aware of this sonic legacy, and reveals how he and composer Michael Giacchino acknowledged it in Rogue One. We’ll also explore his collaborations with Jon Hopkins and Alexandre Desplat on Monsters and Godzilla respectively, with plenty of examples from both scores woven into the conversation.

In cinematic terms, it may very well just be the greatest story ever told. With its ground-breaking special effects, unforgettable cast of characters and universal themes, the original Star Wars trilogy has inspired and delighted film goers ever since A New Hope blew everyone away in 1977. Among those to have felt its force is Gareth Edwards - the man charged with directing the latest addition to the franchise, Rogue One. And it goes without saying that music is central to the impact of George Lucas’s masterpiece – as are the iconic sound effects. John Williams’s score is one of the most famous ever written, while we all mimicked the noise of a Tie-Fighter or lightsaber when we played with the toys as kids. Gareth was only too aware of this sonic legacy, and reveals how he and composer Michael Giacchino acknowledged it in Rogue One. We’ll also explore his collaborations with Jon Hopkins and Alexandre Desplat on Monsters and Godzilla respectively, with plenty of examples from both scores woven into the conversation.

Episode 20: Gareth Edwards On The Music Of Rogue One, Star Wars, Monsters and Godzilla

After 22 films featuring a legion of heroes and villains, it is the end (of sorts) for the Marvel Cinematic Universe. Avengers: Endgame is the culmination of an epic undertaking on the part of Marvel Studios, and delivers thrills, laughs, spectacular set pieces and one or two tears.  We've done our best to avoid spoilers, but if you haven't seen Endgame or indeed Infinity War, you might want to wait before diving in to this latest episode of Soundtracking. As with Infinity War, Endgame directed by Joe and Anthony Russo, with the score provided by Alan Silvestri. And in the fine tradition of the Marvel movies, we've got a rather large bonus at the end of our conversation in the shape of our first interview with the Russo brothers, to save you searching for it on the internet. It really is worth revisiting.

After 22 films featuring a legion of heroes and villains, it is the end (of sorts) for the Marvel Cinematic Universe. Avengers: Endgame is the culmination of an epic undertaking on the part of Marvel Studios, and delivers thrills, laughs, spectacular set pieces and one or two tears.  We've done our best to avoid spoilers, but if you haven't seen Endgame or indeed Infinity War, you might want to wait before diving in to this latest episode of Soundtracking. As with Infinity War, Endgame directed by Joe and Anthony Russo, with the score provided by Alan Silvestri. And in the fine tradition of the Marvel movies, we've got a rather large bonus at the end of our conversation in the shape of our first interview with the Russo brothers, to save you searching for it on the internet. It really is worth revisiting.

Episode 140: The Return Of The Russo Brothers 

Cillian Murphy

Anthony Byrne

If you haven’t been addicted to Peaky Blinders since it first aired in 2013, then you need to get yourself off to the BBC iPlayer at once and start catching up. All episodes are currently available for varying degrees of time, and we highly recommend you get involved before it's too late.    Directed by Anthony Byrne, the latest season sees Cillian Murphy return as Tommy Shelby, head of the eponymous gang vying for underworld supremacy in inter-war Birmingham.     And we're delighted to say that both Anthony and Cillian are with us on Soundtracking to discuss the show’s extraordinary music - which dares to put contemporary alternative artists against the period backdrop. As such, some of the lyrics are quite fruity!     We should mention Edith spoke to them not only before Season 5 screened, but before Anthony had even finished editing it.    We should also mention we had a few problems with Edith's mic during the recording, which we’ve dealt with as best we can. Thankfully, though, the lads sound fine, which is all that really matters.

If you haven’t been addicted to Peaky Blinders since it first aired in 2013, then you need to get yourself off to the BBC iPlayer at once and start catching up. All episodes are currently available for varying degrees of time, and we highly recommend you get involved before it's too late. Directed by Anthony Byrne, the latest season sees Cillian Murphy return as Tommy Shelby, head of the eponymous gang vying for underworld supremacy in inter-war Birmingham.  And we're delighted to say that both Anthony and Cillian are with us on Soundtracking to discuss the show’s extraordinary music - which dares to put contemporary alternative artists against the period backdrop. As such, some of the lyrics are quite fruity!  We should mention Edith spoke to them not only before Season 5 screened, but before Anthony had even finished editing it. We should also mention we had a few problems with Edith's mic during the recording, which we’ve dealt with as best we can. Thankfully, though, the lads sound fine, which is all that really matters.

Episode 160: Cillian Murphy & Anthony Byrne On The Music Of Peaky Blinders

Thelma Schoonmaker

Genius though he is, Martin Scorsese would be the first to admit the enormous debt of gratitude he owes to one Thelma Schoonmaker. For Thelma is the woman who has edited over 20 of his movies, from Raging Bull and Casino to Gangs Of New York and The Departed. So it's truly an honour to welcome her to Soundtracking, the weekly screen music podcast. As you'd hope, she has some great stories to share with us. Thelma was married to the late Michael Powell, one half of the legendary partnership Powell and Pressburger. Their work influenced Martin hugely - and indeed it was he who introduced Thelma to her would-be husband. You'll hear plenty of music from their films, as well as some of the more memorable cues to feature in Martin's back catalogue. There are a few notable clips to enjoy, too ...

Genius though he is, Martin Scorsese would be the first to admit the enormous debt of gratitude he owes to one Thelma Schoonmaker. For Thelma is the woman who has edited over 20 of his movies, from Raging Bull and Casino to Gangs Of New York and The Departed. So it's truly an honour to welcome her to Soundtracking, the weekly screen music podcast. As you'd hope, she has some great stories to share with us. Thelma was married to the late Michael Powell, one half of the legendary partnership Powell and Pressburger. Their work influenced Martin hugely - and indeed it was he who introduced Thelma to her would-be husband. You'll hear plenty of music from their films, as well as some of the more memorable cues to feature in Martin's back catalogue. There are a few notable clips to enjoy, too ...

Episode 131: Editor Thelma Schoonmaker On The Music Of Scorsese

Chad Stahelski

We are truly in the company of cinematic royalty on the latest episode of Soundracking, as Keanu Reeves joins John Wick director Chad Stahelski to discuss chapter 3 of the hugely enjoyable franchise. Theirs was very much a partnership forged during the filming of The Matrix trilogy - on which Chad worked as both a stuntman and stunt co-ordinator. When Keanu received the script for Wick, he invited Chad on board, who in turn enlisted the services of composers Tyler Bates and Joel J. Richard. They provided the scores for all three movies, and as ever you'll hear plenty of their work sprinkled throughout the conversation - as well as a couple of classic needle drops from The Matrix.

We are truly in the company of cinematic royalty on the latest episode of Soundracking, as Keanu Reeves joins John Wick director Chad Stahelski to discuss chapter 3 of the hugely enjoyable franchise. Theirs was very much a partnership forged during the filming of The Matrix trilogy - on which Chad worked as both a stuntman and stunt co-ordinator. When Keanu received the script for Wick, he invited Chad on board, who in turn enlisted the services of composers Tyler Bates and Joel J. Richard. They provided the scores for all three movies, and as ever you'll hear plenty of their work sprinkled throughout the conversation - as well as a couple of classic needle drops from The Matrix.

Episode 142: Keanu Reeves & Chad Stahelski On The Music Of John Wick & The Matrix

Routinely cited as one of the funniest movies of all-time, This Is Spinal Tap is much imitated, oft-quoted, and as fresh now as it was when it first appeared in 1984. If you haven't seen it, you must buy it immediately.  Directed by Rob Reiner, it takes the form of documentary following a shambolic heavy metal band as they tour North America. Though the band is, of course, fictional, their songs are very real, and very funny. One of the men behind both these songs and the razor-sharp script is writer, actor, director and musician Christopher Guest.  As we'll discover, Christopher's musical background stood him in good stead for Tap, and also A Mighty Wind, his affectionate parody of the folk world. His latest directorial project is Mascots, in which he appears alongside Parker Posey, Jane Lynch, Chris O'Dowd and Ed Begley Junior among many others.  As with all his films, there's no traditional score - with the tunes the mascots perform to provided by CJ Vanston. But he is a fan of film music, and in particular the quirky orchestrations of Italian legend, Nino Rota. Expect plenty of music from Tap, The Folksmen and Mascots, as well as the odd trip-down-memory-lane clip too.

Routinely cited as one of the funniest movies of all-time, This Is Spinal Tap is much imitated, oft-quoted, and as fresh now as it was when it first appeared in 1984. If you haven't seen it, you must buy it immediately. Directed by Rob Reiner, it takes the form of documentary following a shambolic heavy metal band as they tour North America. Though the band is, of course, fictional, their songs are very real, and very funny. One of the men behind both these songs and the razor-sharp script is writer, actor, director and musician Christopher Guest. As we'll discover, Christopher's musical background stood him in good stead for Tap, and also A Mighty Wind, his affectionate parody of the folk world. His latest directorial project is Mascots, in which he appears alongside Parker Posey, Jane Lynch, Chris O'Dowd and Ed Begley Junior among many others. As with all his films, there's no traditional score - with the tunes the mascots perform to provided by CJ Vanston. But he is a fan of film music, and in particular the quirky orchestrations of Italian legend, Nino Rota. Expect plenty of music from Tap, The Folksmen and Mascots, as well as the odd trip-down-memory-lane clip too.

Episode 16: Christopher Guest On The Music Of Spinal Tap, A Mighty Wind and Mascots

We're bringing you another Soundtracking Live this week, recorded at London's BFI shortly before Christmas with the one and only Tim Burton.    We had an absolutely cracking night in front of a full house, chatting about his longtime partnership with Danny Elfman and playing clips from Beetlejuice, Edward Scissorands, Batman Returns, Charlie And The Chocolate Factory and The Nightmare Before Christmas.   As such, you'll need to use your imagination a wee bit in this episode - but the scenes we went for are so memorable and iconic, it shouldn't prove too problematic.   Besides, they are of course all beautifully scored - so if nothing else you can enjoy Danny's work.

We're bringing you another Soundtracking Live this week, recorded at London's BFI shortly before Christmas with the one and only Tim Burton.  We had an absolutely cracking night in front of a full house, chatting about his longtime partnership with Danny Elfman and playing clips from Beetlejuice, Edward Scissorands, Batman Returns, Charlie And The Chocolate Factory and The Nightmare Before Christmas. As such, you'll need to use your imagination a wee bit in this episode - but the scenes we went for are so memorable and iconic, it shouldn't prove too problematic.  Besides, they are of course all beautifully scored - so if nothing else you can enjoy Danny's work.

Episode 180: Soundtracking LIVE at the BFI With Tim Burton

Damien Chazelle

La La

If you've had the pleasure of watching Damien Chazelle's breakthrough feature Whiplash, you'll know it's a hard act it is to follow. But follow it he has with La La Land, an utterly beguiling 21st century musical set in the city of angels. Having just landed 7 Golden Globes - including Best Screenplay and actress and actor awards for Emma Stone and Ryan Gosling - it's now been nominated for 11 Baftas.  In the case of both Whiplash and La La Land, the music is provided by Damien's old college roommate Justin Hurwitz, who I'm delighted to say joins me next week. You’ll hear plenty of examples from both scores, as well as a spot of West Side Story and Singing In The Rain.

If you've had the pleasure of watching Damien Chazelle's breakthrough feature Whiplash, you'll know it's a hard act it is to follow. But follow it he has with La La Land, an utterly beguiling 21st century musical set in the city of angels. Having just landed 7 Golden Globes - including Best Screenplay and actress and actor awards for Emma Stone and Ryan Gosling - it's now been nominated for 11 Baftas. In the case of both Whiplash and La La Land, the music is provided by Damien's old college roommate Justin Hurwitz, who I'm delighted to say joins me next week. You’ll hear plenty of examples from both scores, as well as a spot of West Side Story and Singing In The Rain.

Episode 24: Damien Chazelle On The Music Of La La Land And Whiplash

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