“Hypnotic” Composer Rebel Rodriguez on Scoring The Robert Rodriguez/Ben Affleck Head-Trip Thriller

Rebel Rodriguez knew about Hypnotic even before the screenplay was written. The composer is one of the sons of its writer-director Robert Rodriguez, the famed helmer behind countless cult classics like From Dusk Till Dawn, the neo-noir stylized Sin City, Planet Terror, and the blood thirst avenge tour Machete. “This idea has been gestating for like 20 years,” says Rebel of Hypnotic,

“Awkwafina is Nora From Queens” Composer Tangelene Bolton Drops the Needle

“I’ve been playing music since I was two or three, piano specifically, and then I was really into film starting in middle school, and I thought, ooh, maybe I’ll be a director one day,” says composer Tangelene Bolton, whose work can currently be heard on season three of Awkwafina is Nora From Queens. “I started experimenting with making a bunch of short films, and I realized the music heavily influenced how I approached cutting the footage and telling the story.

“Batman: The Doom that Came to Gotham” Composer Stefan L. Smith Draws out the Darkness

Batman: The Doom that Came to Gotham submerges Bruce Wayne (David Giuntoli) in a world of magic, myths, and monsters. Set a century ago in the roaring 20s, the glamour and grandeur of Gotham glimmer beneath an evil awakening set to consume the city. The edgy animated style based on the 2000-2001 comic book miniseries by Mike Mignola and Richard Pace is appropriately avant-garde and calls for an epic, atmospheric score. Composer Stefan L.

“Ant-Man and The Wasp: Quantumania” Composer Christophe Beck on Kang, the Langs, & Depeche Mode

Christophe Beck is one of the most prominent composers in the Marvel sandbox. He not only scored all three Ant-Man films but co-composed Hawkeye and, to great acclaim, WandaVision. After eight years of collaborating with the Marvel team, Beck is well-versed in the MCU’s sonic landscape.

The composer’s first collaboration with director Peyton Reed was years before he composed themes for Ant-Man’s miniaturized adventures.

“Babylon” Composer Justin Hurwitz Deconstructs His Oscar-Shortlisted Score

“I’m very obsessive, and I can only do one thing at a time, so when Damien has a movie to work on, I go all in.” That’s composer Justin Hurwitz talking about his ongoing collaboration with filmmaker Damien Chazelle, and clearly, the laser vision has paid off. Hurwitz started working on his Oscar short-listed score for Babylon back in 2019, a few years after winning two Academy Awards for the Chazelle-directed La La Land.

“I Wanna Dance with Somebody” Composer Chanda Dancy on Scoring Whitney Houston’s Complex Life

When the shortlist for the 2023 Oscars was announced, composer Chanda Dancy was included for her work on the film Devotion. If she is nominated, she’ll make history as the first Black female composer to be nominated for an Academy Award. Dancy brings that winning streak into 2023 with her score for the new film Whitney Houston: I Wanna Dance with Somebody, directed by Kasi Lemmons and starring Naomi Ackie as Houston.

Best of 2022: “Stranger Things 4” Music Editor Lena Glikson on Cutting Kate Bush’s “Running Up That Hill”

It’s that time of year—we look back on a few of our favorite interviews from 2022 in our annual year-end list.

From the get-go, Netflix hit Stranger Things has excelled in the art and craft of needle drops. Encompassing eighties classics from David Bowie’s “Heroes” in Season One to “Everlasting Love” in Season Three, song choices curated by three-time Emmy-nominated music supervisor Nora Felder have consistently amplified the characters’

“Devotion” Score Mixer Alvin Wee on Letting the Music & Emotion Take Flight

Growing up in Malaysia, Alvin Wee was drawn to “big action movies” such as the Harry Potter series and Transformers. “I liked sensory overload, the loud, visual spectacle. My favorite movie was Superman with Christopher Reeve. It’s also my favorite score, by John Williams,” says Wee, the Score Mixer on Sony’s Devotion, now in theaters. Wee was also the score mixer for Disney’s Encanto,

“Black Panther: Wakanda Forever” Composer Ludwig Göransson on the Score’s Secret Weapon

One of Black Panther: Wakanda Forever director Ryan Coogler’s closest collaborators throughout his entire Marvel journey has been composer Ludwig Göransson. Beginning with Coogler’s 2018 Black Panther, Göransson has been by his side, helping him breathe life into the music and sounds of the fictional African nation of Wakanda. Along with other key collaborators like costume designer Ruth E. Carter and production designer Hannah Beachler,

“Women Talking” Composer Hildur Guðnadóttir on Scoring Sarah Polley’s Astonishing New Film

Based on the novel by Miriam Toews, writer/director Sarah Polley’s new narrative Women Talking considers how a group of women can move forward after the shocking betrayal and abuse by men in their isolated religious community. The backstory of the novel and subsequent film, which is set in 2010, mirrors horrific true events that took place at a Mennonite colony in Bolivia. For over four years, nine men secretly sedated over a hundred girls and women,

How “Causeway” Composer Alex Somers Cued the Cellos for Jennifer Lawrence’s New Drama

Jennifer Lawrence reanimates a no-frills acting style harkening to her 2010 breakthrough performance in Winter’s Bone with the new indie film Causeway. Directed by Lila Neugebauer and set in New Orleans, Causeway (in theaters now [Oct. 28] and streaming November 4 on Apple TV+) casts Lawrence as a soldier who’s returned from Afghanistan to her hometown burdened with physical wounds and PTSD. 

Lawrence’s solemn performance opposite Brian Tyree Henrys enjoys subtle boosts from composer Alex Somers’

“Coco” and “Encanto” Composer Germaine Franco on Finding Musical Inspiration at its Source

In 2016, composer and multi-instrumentalist Germaine Franco was the first Latina and first woman of color invited to join the Academy of Motion Picture Arts and Sciences music branch. With 2021’s Encanto, she was the first woman to score a Disney animated feature and the first Latina to be nominated for an Academy Award for Best Original Score. In a world where female composers still make up only a fraction of those hired for studio projects,

“She-Hulk” Composer Amie Doherty on Blending Megan Thee Stallion With Marvel’s Orchestral Bombast

With 2021’s Spirit Untamed, composer Amie Doherty became the first woman to score a DreamWorks animated feature film. Known for her work on The High Note and Happiest Season, she has also made a name for herself as an orchestrator. Her most recent project is as the composer for the Marvel series She-Hulk, where she has combined the bombastic, orchestral Marvel style with a very modern and beat-driven aesthetic that gives the show its unique sound. 

Best of Summer: “Elvis” Composer Elliott Wheeler on The King’s Music & That Doja Cat Collab

As we’ve done for the past few summers, we’ve compiled a few of our favorite interviews to highlight in this last week of August. This is by no means a comprehensive list, but a little taste of some of the great conversations we’ve had during these hot summer months. Bring on sweater season. 

The dazzling visuals of director Baz Luhrmann’s spine-tingling biopic of Elvis, which were beautifully shot by cinematographer Mandy Walker,

Best of Summer: “Stranger Things 4” Music Editor Lena Glikson on Cutting Kate Bush’s “Running Up That Hill”

As we’ve done for the past few summers, we’ve compiled a few of our favorite interviews to highlight in this last week of August. This is by no means a comprehensive list, but a little taste of some of the great conversations we’ve had during these hot summer months. Bring on sweater season. 

From the get-go, Netflix hit Stranger Things has excelled in the art and craft of needle drops.

“Nope” Composer Michael Abels on Scoring Jordan Peele’s Sci-Fi Epic

Composer Michael Abels has become the artist of choice for writer/director Jordan Peele. He has scored all three of his features, Get Out, Us, and now has put his talent and inspiration behind Peele’s latest, the genre-busting sci-fi horror thriller Nope. 

Nope stars Daniel Kaluuya and Keke Palmer as siblings OJ and Em, the heirs of a struggling horse ranch and animal wrangling business for film and television in the Santa Clarita valley.

“Better Call Saul” Composer Dave Porter on Playing Jimmy McGill Out

Dave Porter has been creating music for the universe of Breaking Bad since the beginning in 2008, starting with the award-winning, Zeitgeist capturing fan favorite, then continuing with Better Call Saul in 2015, and scoring El Camino: A Breaking Bad Movie in 2019. That’s a long time to be living in a world so beloved by ‘Heisenbergers’ from the inside. Now, as Better Call Saul comes to a conclusion with its last show (the penultimate episode airs on August 8,

“The Gray Man” Composer Henry Jackman Breaks Down His 17-Minute Suite

Classically trained at Oxford University, British-born musician Henry Jackman moved to Los Angeles in 2001. Within five years, he’d landed an apprenticeship gig at Hans Zimmer’s music company, and from there, Jackson quickly rose through the ranks to become one of Hollywood’s most versatile composers. Credits range from Kong: Skull Island and Tom Hanks’s tense, fact-based drama Captain Phillips to half a dozen zany animation features, including Wreck-It Ralph.

“Obi-Wan Kenobi” Composer Natalie Holt Finds the Force

The series Obi-Wan Kenobi concluded to great acclaim, especially for star Ewan McGregor’s emotional performance in the title role, Moses Ingram’s intensity as Inquisitor Reva, and the astonishing cat-and-mouse game between Obi-Wan and his former protogé, Darth Vader. Speaking of Vader, Hayden Christensen returned to the role and gave a haunting performance, creating a richer, more tragic character arc for one of the greatest villains of all time. As with other Star Wars projects for the small screen,

“Stranger Things 4” Music Editor Lena Glikson on Cutting Kate Bush’s “Running Up That Hill”

From the get-go, Netflix hit Stranger Things has excelled in the art and craft of needle drops. Encompassing eighties classics from David Bowie’s “Heroes” in Season One to “Everlasting Love” in Season Three, song choices curated by three-time Emmy nominated music supervisor Nora Felder have consistently amplified the characters’ emotions to uncanny effect. 

But nothing in Stranger Things’ previous hit list prepared audiences for this summer’s zeitgeist-smashing anthem “Running Up That Hill.”