What a joy to welcome Ludwig Göransson back for a fourth time to reflect upon the incredible music he provided to Christopher Nolan for Oppenheimer. And in person, too!
In a change to our billed interview with Ludwig Göransson, we’re putting out Edith’s chat with Kathryn Ferguson. Kathryn directed the Sinéad O’Connor documentary, Nothing Compares, which very specifically concentrates on the tumultuous period in her life between 1987 and 1993, during which she became a global sensation, but also the victim of a character assassination in the media, having spoken out against abuse in the Catholic church. In a cruel twist of fate, Kathryn and Edith spoke just three days before Sinéad passed away, but – with Kathryn’s blessing – we thought it timely that we share the story of the beautiful, powerful and illuminating film.
Recorded before the SAG strike began, our latest guest on Soundtracking is the legend that is Christopher Nolan. Criminally, it’s the first opportunity Edith has had to speak to him on the podcast, so it was an absolute joy to welcome him on to discuss Oppenheimer, which sees him reunited with our good friend, Ludwig Göransson.
In an interview recorded before the actors strike began, Greta Gerwig returns to Soundtracking for a third time, to discuss the music of her extraordinary take on Barbie, which is witty, funny, smart and cerebral. Among the many points for discussion are Mark Ronson’s involvement, who has a key hand to play in both the score and frankly incredible soundtrack.
Our guests today are Cécile Tournesac and Eddie Hamilton, who are respectively the music editor and editor of Mission Impossible: Dead Reckoning (Part I), directed by our old friend Christopher McQuaurrie, and scored by our even older friend, Lorne Balfe.
We love James Mangold, so it is a joy to welcome him back to Soundtracking to discuss the final instalment of the Indy saga, and, of course, the unsurpassable John Williams.
As promised, we have a bonus episode of Soundtracking for you this week, as the brilliant Charlie Brooker joins me to discuss the inimitable Black Mirror. All 6 episodes of the new season are available to watch on Netflix now, and do not disappoint. Music is a central part of the show, from the needle drops to the composers he’s employed, including friends of the show Daniel Pemberton, Max Richter & Clint Mansell.
Bit of a legend alert for you now, as we welcome the genius that is Wes Anderson to Soundtracking. Wes’s latest offering is quite difficult to describe in a few words. But suffice to say it is laugh-out-loud funny in parts, incredibly moving in others, features a terrific ensemble cast, and once again sees him work with composer Alexandre Desplat and our Jarvis Cocker.
We are celebrating the 50th anniversary of The Wicker Man this week in the company of Lesley Mackie and Gary Carpenter. Lesley appeared as Daisy, while Gary was the film’s associate music director, who helped assemble the band Magnet, who performed the songs composed by Paul Giovanni.
It’s a welcome return to Soundtracking to our very good friend, the composer Daniel Pemberton, who has provided the score for the simply sensational Spider-Man: Across The Spider-Verse. We’ll hear plenty of Daniel’s music from the film throughout the conversation, as well of fascinating insights into the process of making the score and the movie.
We have not one but two guests on our latest episode of Soundtracking, in the shape of Rob Marshall and Alan Menken. Rob has reimagined the 1989 Disney classic, The Little Mermaid, in live action, while composer Alan Menken provided music for both. Edith sat down with Rob and Alan separately to dive deep into the score and songs.
Our latest guests on Soundtracking are two very talented women who have worked together on the music for A Small Light – the brilliantly-told story of Miep Gies, who helped Anne Frank’s family and other Jewish refugees into hiding during World War 2. Ariel Marx provided the score, while Este Haim worked on contemporary reversionings of songs from the era with the likes of Sharon Van Etten, Angel Olsen, and her sister Danielle.
Our latest episode of Soundtracking is with Will Lovelace and Dylan Southern, who are the directors of Meet Me In The Bathroom. Based on Lizzy Goodman’s book of the same name, the film tells the story of the rebirth of the New York rock scene at the turn of the Millennium, and features incredible documentary footage of bands like The Strokes, Yeah Yeah Yeahs, LCD Soundsystem and The Moldy Peaches.
We have 3 guests for you in our latest episode, discussing an extraordinary journey which saw the acclaimed English National Ballet’s production of Creature transformed into a film during lockdown. Choreographed by Akram Khan with music from Vincenzo Lamagna, Creature is inspired by Georg Büchner’s expressionist classic Woyzeck, and has echoes of Frankenstein too.
Now, our good friend Asif Kapadia has brought the original stage performance to our screens in spectacular style, aided by Vincenzo and editor Sylvie Landra
Our latest guests on Soundtracking are Rachel Weisz and Alice Birch, who together are instrumental in bringing us the TV remake of David Croneburg’s classic chiller, Dead Ringers. As well as reprising the Jeremy Irons role as the central twins, Rachel also produced the show, while Alice developed the concept for Amazon Prime and was a driving force behind the script. Here they discuss some of their musical choices and decisions.
