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 celebrate than to chat with Max Richter?
Max’s (Ad Astra, The Leftovers) latest (Oscar nominated) score is for the incredible historical drama Hamnet, a fictionalized account of the death of William Shakespeare and his wife Agnes’s son Hamnet and how it inspired the creation of Hamlet. Unsurprisingly, we spend most of our conversation on Hamnet, including the score itself, how “On the Nature of Daylight” made its way into the film via the intervention of Jessie Buckley, and Max’s thoughts on the themes of the film itself. Despite the quick interview we manage to cover a lot of other ground too, such as the use of “On the Nature of Daylight” over the years, the troubled production of Ad Astra, and how a musician’s intent goes only so far once their music reaches an audience (as “everyone listens through the prism of their biography”).
I only realized after our interview that my interest in Max’s music probably predates my interest in film music by a couple of years. I’m sure it’s flattering for composers to hear things like that, but I also think you get yourself into trouble (and diminish the interview) when the fanboy side comes out a bit too far. Luckily, I think it was kept in check here.
Max’s score for Hamnet is forthcoming (though having heard an advance version, I can vouch that it’s great) and the rest of his music is available on all major platforms. You can find out more about Max on his website. In addition to Hamnet’s pending release, Max just announced some 2026 tour dates.
Have a listen to our conversation below or wherever you get your podcasts (including Spotify and Apple Podcasts). Enjoying these interviews? Show the love by subscribing and leaving a rating or review!