Musical Nasties is a series of articles exploring the music of cinema’s most salacious fare. From video nasties of the ‘80s, to classic Italian gialli and schlock, to contemporary cult cinema, we aim to celebrate our favorite genre movies, their […]
With the season 3 premiere right around the corner, we’ve decided to drop an interview to tease your appetite. Dominic Lewis (Violent Night, The King’s Man) joins The Film Scorer to talk about his new score to the hit action film […]
Musical Nasties is a series of articles exploring the music of cinema’s most salacious fare. From video nasties of the ‘80s, to classic Italian gialli and schlock, to contemporary cult cinema, we aim to celebrate our favorite genre movies, their […]
It’s difficult, if not impossible, to put ourselves into the minds of killers, of terrorists. But in Ted K, that’s exactly what experimental electronic artist Blanck Mass does. The film, unsurprisingly, covers several decades of the life of American domestic […]
In the season two finale of The Film Scorer Podcast, acclaimed Northern Irish composer Hannah Peel joins the show! We primarily talk about her score for the new series adaptation of John Wyndham’s novel The Midwich Cuckoos (which you may […]
Experimental electronic musician turned film composer Benjamin John Power (aka Blanck Mass) joins The Film Scorer Podcast! We initially set out to talk about his score for Ted K, which mixes gentle, ambient textures and pounding melodies to get into the […]
Clint Mansell has firmly established himself as one of the best film composers working today, so he doesn’t need to use gimmicks to draw interest to his music. But it’s easy to assume that by sampling the sounds of plants […]
Pleased to have composer CJ Mirra join The Film Scorer Podcast! We primarily talk about CJ’s feature scoring debut, the UK family drama/horror film A Banquet. Much of CJ’s score oscillates between eerie, dreadful atmospheres and textures and gentler yet […]
It’s always a tall task reimagining any movie, let alone one as iconic as 1965’s The Ipcress File. With a great Michael Caine performance, as British agent Harry Palmer, and one of the best John Barry scores, these are tough […]
Right from the opening cue of “Arrival,” Jonny Greenwood informs you that his score for the Pablo Larraín helmed Spencer is not what you imagined. There’s an uneasiness to that opening cue, something that says: “this will most definitely be […]
Derek Kirkup joins The Film Scorer Podcast to talk about his gentle, bittersweet score to the new familial drama Sorority. Along the way we talk about Nic Cage’s acting career and how his boundary-pushing approach may have parallels to pushing film […]
The synths take on a mind of their own, the screen twists and morphs into a fantastical delusion, and we fall ever briefly into the rabbit hole.