One of the more exciting aspects of film music, to me, is when non-traditional musicians try their hand at scoring. By this I mean musicians with careers that predate and are independent of their forays into scoring. It brings a […]
Tim Hecker, one of the leading voices in experimental electronic music (sometimes referred to as “ambient”) joins The Film Scorer Podcast! Tim and I primarily talk about his score to the new film Infinity Pool, a psychedelic, nasty ride with […]
My latest guest on The Film Scorer is DJ-turned-media composer Nathan Micay! While those fans of techno, house, and trance clubbing across the world might be familiar with Nathan’s work in those scenes, he’s recently branched out into scoring for […]
The very first notes of The Black Phone let us know that this won’t quite be your typical Mark Korven score. An ugly, noisy synth melody plays, backed by grating roars and shrieking noise, all while we watch a montage […]
Howard Shore has cultivated two very distinct sides of his film scoring oeuvre. While the most well-known (and most beloved) belong to his brilliant orchestral works, such as his seminal score for The Lord of the Rings trilogy, he also […]
Directed by Ryan Glover, and written by Glover and Krista Dzialoszynski, The Strings is a work of pure atmosphere and mood. In the deep of winter, a lone musician heads off to a cabin to work on new material; while […]
The one and only Mark Korven joins me on The Film Scorer Podcast! Mark is probably best known for scoring films like The Witch and The Lighthouse, but his latest score is for Resident Evil: Welcome to Raccoon City. We […]
Film composer and singer-songwriter Steph Copeland joins the show to talk about, among other things: her recent scores for Vicious Fun, The Retreat, and The Oak Room, as well as her trend of scoring for horror and balancing her dual identities of a […]
Borrowing from a concept he first explored in The Witch, Mark Korven‘s score for The Lighthouse gives a voice to the film’s monolithic “Lighthouse.” A monotonous, deafening wail roars out intermittently, overwhelming everything. This is the call of the Lighthouse, […]
Paul Rudd’s son had the same reaction to the announcement of Ant-Man as many of us unfamiliar with Marvel’s less popular characters: “I can’t wait to see how stupid that’ll be.” On paper, the sentiment isn’t wrong. Ant-Man controls an […]
A common complaint about film and TV scores is their use of tone over melody (a complaint perhaps most famously made by Jason Segel’s composer character in Forgetting Sarah Marshall). Mark Korven completely ignored this complaint for his score of […]
Most westerns contain many grandiose shots of great untamed landscapes – wide rivers, soaring mountains, sprawling valleys. These shots tend to be sweeping and slow-to-develop, allowing for an equally grandiose score to fill the void. This relationship puts the focus […]