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It wasn’t that long ago the sound of the Academy of Motion Picture Sciences stepped into the future… 2011. Industrial agitators Trent Reznor and Atticus Ross step onto the Dolby Theatre stage to accept their first Oscar for The Social […]
You poor fools – imagine thinking that The Film Scorer was actually on hiatus? Far, far from the truth. Ending the fifteen second break I took after interviewing Daniel Lopatin is Simon Franglen! For those that don’t know, Simon is […]
One of the complaints about modern film scoring is how it can veer into sound design, with the two sometimes becoming indistinguishable. It’s a far cry from the theme based, Romantic, Wagnerian roots of film scoring and the traditional scoring-as-narrative […]
Here we are, in the dead zone between seasons, where all should be silent. But a voice calls out from the darkness. Who could it be…? Well my friends, that voice belongs to one Daniel Lopatin, also known as Oneohtrix […]
The end is here! Well, the end of season 5 at least. That’s right, after over twelve months the season is finally over (making it, I think, the longest season of The Film Scorer yet), and what better wait to […]
There are a few perks to running every aspect of this site and podcast, the biggest being picking who I want to interview (and avoiding whomever I don’t). Part of that, sometimes, is using film music as an excuse to […]
Although this site and podcast are called “The Film Scorer”, every so often it’s nice to chat with someone who does significant work in another medium instead. Today, that someone is Jesper Kyd (Hitman, Assassin’s Creed). Jesper has been scoring […]
Licensed music in film and tv can often be used because it sounds good, fitting the scene’s tone or style, or maybe just because it works. But I was recently reading an article that discussed how a “pop song” (or […]