Composer Tom Schraeder joins me for my first-ever in-person interview. Tom and I broke the ice by chatting for about an hour in my kitchen before heading downstairs and hitting record, and I think the comfort really shows up here. […]
Most sequels to hit movies walk into the same traps while trying to outdo their predecessors: they stumble over the slew of new characters, settings, and problems that they introduce to turn a self-contained ending into the start of a […]
Composer Emilie Levienaise-Farrouch joins the show! Emilie’s latest score is for the film All of Us Strangers, a sort of romance-fantasy-supernatural film that I found absolutely moving. As such, we primarily talk about her score for that film, including talking about […]
The BAFTAs air on February 18th, and mark the second-to-last stop in awards seasons (with the Oscars seemingly still a ways away). The nominees are almost entirely made up of ones we’ve seen fill every other list all season, save […]
The Film Scorer Podcast is back from its season 4 mid-season break! To celebrate in this return, Sam Haft joins the show! As of now, Sam might be best known for being one-half of the duo The Living Tombstone, alongside […]
The Messiaen Modes. These Modes, particularly number 3, became the focal point of coverage about Mac Quayle’s score for Leave the World Behind, driving the sound of his score. The Wikipedia entry for these (“modes of limited transposition”) – which […]
A few days ago, Variety published an opinion piece titled “Why ‘May December’s’ Use of ‘The Go-Between’ Score During Viral Hot Dog Scene Is Problematic”. Given the specific use of “problematic” in media criticism, this immediately piqued my interest. Knowing […]
Welcome to 2024, and welcome to another interview on The Film Scorer! Joining me to kick off the new year is harmonicist extraordinaire Frédéric Yonnet. Fred has toured and performed with an incredible slate of legendary musicians, like Stevie Wonder, […]
It’s easy to get distracted in Yorgos Lanthimos’s latest film Poor Things, whether from the visuals reminiscent of a 60s Czech fantasy film, the voluminous sex scenes, or Jerskin Fendrix’s (interview) unabashedly strange score. But, in one way or another, […]
Despite my promises, my catch-up on this column is nonexistent; but at least I’m not falling behind too much now. Will that last? Will the winter holidays give me a chance to catch up? Or will they further inspire my […]
Pulitzer Prize winning composer Michael Abels (Get Out, Nope) joins the show to round out 2023! Not surprisingly, Michael and I spend a fair amount of time talking about his work with Jordan Peele on the films Get Out, Us, and Nope, […]
As 2023 starts to close, and the awards season begins to heat up, I’m joined with the composer for what’s being widely hailed as one of the best film scores of the year: Jerskin Fendrix. Jerskin’s latest score is for […]