Interview with Jermaine Stegall
A new scoring prince gets his Hollywood coronation by taking Zamunda travel arrangements to a vibrantly funny new musical future
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05Mar2021
12Feb2021
Interview with Emile Mosseri
Of the new crop of composers to spring from an indie sensibility and all of the fertile, innovative ideas that come with it, perhaps no musician has captured the idea of what it is to find an outsider’s American measure of success than Emile Mosseri. Hailing from Egyptian roots, Mosseri has poetically captured themes of […]
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18Dec2020
Interview with Branford Marsalis
There’s often no pressure cooker like a recording studio where the clock is running, and the egos are flaring. Add to that the rage of racial injustice and the diva behavior of an ego that’s earned and it’s a session ready for an eruption. The tortuous, yet tuneful process of getting that song sung opens […]
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15Nov2020
Interview with Dara Taylor
Putting hypnotic structure to criminal chaos with “Echo Boomers”
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28Sep2020
Interview with Marc Streitenfeld
Continuing to explore alien worlds and the nature of android parenting in “Raised by Wolves”
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21Aug2020
Interview with David Buckley
Veering from the sonic insanity of “Unhinged” to the emotional apocalypse at “Greenland”
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15Jun2020
Interview: Director Jesse V. Johnson and composer Sean Murray
A kick-ass double team has the bill come due again for a martial arts star who’s taking names
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01May2020
Interview with Nathan Barr
Going inventively old and new school with “Hollywood” and “The Great” while finally catching “The Hunt’s” darkly satirical quarry
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26Mar2020
Interview with Steve Jablonsky
Rhythmically scoring men of action with “Bloodshot” and “Spenser: Confidential”
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31Jan2020
Interview with Colin Stetson
Scoring into the mouth of cosmic madness to conjure a Lovecraftian miasma for “Color out of Space”
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15Nov2019
Interview with Marco Beltrami and Buck Sanders
A composing team to beat puts pedal to the retro for “Ford v Ferrari”
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18Oct2019
Interview with Michael Giacchino
Finding the humor, horror and humanity with “Jojo Rabbit’s” surreal sunset for Hitler
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11Sep2019
31May2019
Interview with David Arnold
Having his merry way with heaven and hell for “Good Omens’” end of days
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04Apr2019
Interview with Christopher Young
HELLRAISER’s master of old school horror scoring gets transformed by being re-buried in a PET SEMATARY
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06Feb2019
Interview with Jeff Russo
Bringing the heroic bands back together with “Star Trek: Discovery” and “The Umbrella Academy”
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05Dec2018
Interview with Max Richter
A king of modern classical scoring continues his reign with “Mary, Queen of Scots”
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04Oct2018
Interview with Dominic Lewis
Scoring the not-so alternate fascist world order for a new season of “The Man in the High Castle”
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16Aug2018
03Jul2018
Interview with Christophe Beck
Getting even bigger with his score for “Ant-Man and the Wasp”
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15May2018
Interview with Nima Fakhrara
Musically voicing one of a trio of androids seeking a soul in the ever-changing videogame “Detroit Become Human”
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03Apr2018
Interview with Garth Stevenson
Hearing the death of a woman, and a presidential dream in the haunted waters of “Chappaquiddick”
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23Feb2018
Interview with Geoff Barrow
Creating a new force of alien scoring with Ben Salisbury for “Annihilation”
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04Jan2018
Interview with Jason Hill
Hearing the eerily twisted musical words that makes for “Mindhunter’s” killer interviews
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21Nov2017
Interview with Dario Marianelli
Scoring the speech of no surrender for Winston Churchill’s “Darkest Hour”
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19Oct2017
Interview with Rob
France’s rising composer of retro-styled horror scoring visits America’s legendary haunted house for “Amityville: The Awakening”
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27Sep2017
Interview with Nathan Barr
Scoring on through to the other side with a new generation of “Flatliners”
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03Aug2017
Interview with Warren Ellis
Once again haunting the American badlands with Nick Cave for “Wind River”
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19Jun2017
Interview with Lorne Balfe
Making equations and icons of history come to musical life with “Genius” and “Churchill”
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16May2017
Interview with Aaron Zigman
A composer finds himself in the real, and existential hiding space of “Wakefield”
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