Episode 263:
Phyllida Lloyd On The Music Of Herself

Our latest guest on Soundtracking is a producer and director who has worked extensively in theatre and film, most famously (in cinematic terms, at least) on Mamma Mia and The Iron Lady, which saw Meryl Streep win an Oscar for best actress.

Phyllida Lloyd’s latest offering is Herself. Written by and starring Clare Dunne, Herself tells the story of Sandra – a struggling single mum who decides to build her own home when the housing authority refuses to offer her one. In doing so, she rediscovers herself with the help of a kindly community, only for her abusive ex-husband to return to haunt her …

The film is scored by former guest on this show Natalie Holt, and we must say thank you to her for sending us her unreleased music from the film.

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Episode 262:
Lorne Balfe & Cate Shortland On The Music Of Black Widow

We’ve been wanting to put out this latest episode of Soundtracking for some time now, featuring as it does two people who were instrumental in bringing us Black Widow.

First up is our old pal Lorne Balfe, returning to the podcast for a third time to discuss his excellent score for the film. Then we’ll bring you a chat Edith had with director Cate Shortland, who’s put a very distinctive spin on the story of Natasha Romanov.

If you haven’t seen it, it is still showing in a few cinemas, but is also available on Disney+ to customers with Premier access, and coming out on blu-ray and DVD on 13th September. It’s cracking fun, and both Lorne and Cate have brought plenty new to the MCU table.

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Episode 261:
Composer Emilie Levienaise-Farrouch On Her Score For Censor

Our latest guest is a composer who has been on the podcast before, but is appearing by herself for the first time.

Emilie Levienaise-Farrouch joined me, Carly Paradis and Amelia Warner for a very special Soundtracking Live at the BFI back in June 2019. In this episode, she’s here to discuss her work on Censor, a smart, scary British horror which is out in cinemas now. Directed by Prano Bailey-Bond and starring Niamh Algar, the film tells the story of Enid, a video nasty censor who links a particularly disturbing movie with the disappearance of her sister.

It is beautifully scored by Emilie – at once acknowledging the classic video nasties of the 70s and 80s while having its own distinctive voice. And the good news is, it’s soon to be released on vinyl by our good pals at Invada Records. Hurrah!

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Episode 260:
Ferdinando Cito Filomarino On The Music Of Beckett & Ryuichi Sakamoto

Our latest guest on Soundtracking is an Italian screenwriter and director who is absolutely charming company – and super-talented to boot.

Ferdinando Cito Filomarino – or Ferdy for short! – has collaborated multiple times with former guest on this show, Luca Guadagnino, and also brought us a couple of feature films of his own. The latest of these is Beckett, which you can watch now on Netflix.

Starring John David Washington and Alicia Vikander, Beckett tells the story of a tourist who becomes the subject of a manhunt following an accident while holidaying in Greece. Excitingly, Ferdy’s film is scored by none other than Ryuichi Sakamoto – who provides a typically layered soundscape. As always, we’ll pepper plenty of his music throughout the conversation.

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Episode 259:
Composer Tyler Bates Discusses His Career

Our latest guest on soundtracking is an artist whose name has featured numerous times on Soundtracking, such is his stock in the world of film composition.

Tyler Bates is the former lead guitarist for Marilyn Manson – but has, since the early 2000s, focussed the majority of his attention on movie scoring, working on projects like John Wick, Guardians Of The Galaxy and Watchmen.

His latest offering is Dark Nights: Death Metal, a companion piece to the hugely successful series of comics and graphic novels by Scott Snyder and Greg Capullo. As ever, we’ll hear examples of Tyler’s music throughout the conversation.

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Episode 258:
Ben Wheatley & Andy Starke On The Music Of In The Earth

We’re 5 years old this week – hurrah!!! – and to celebrate our birthday, we thought we thought we’d go back to where it all began by speaking to Ben Wheatley, who appeared in the very first episode of Soundtracking and returns (appropriately enough) for a fifth time.

Ben joined us with his longtime producer Andy Starke to discuss their film In The Earth, which was made in lockdown with all the considerable difficulties that brought.

Set during a deadly global pandemic, In The Earth tells the story of a scientist and a park scout who embark on a mission to find a renegade botanist, conducting research into plant life deep in the woods. Much hallucinogenic mayhem ensues, referencing everything from Hammer horror to Hansel and Gretel and Dr Who, not to mention Ben’s previous work.

In The Earth is scored by our old friend Clint Mansell – who even rigged up his house plants to create sounds that feature in the music. Wonderful stuff …

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Episode 257:
Edgar Wright & The Sparks Brothers

It’s a triple header on this week’s Soundtracking, as Edith is joined first by Edgar Wright to discuss his first foray into documentary filmmaking – The Sparks Brothers – and then by Russell and Ron themselves – the groundbreaking duo who’ve been smashing the mould for half a century.

As well as getting the lowdown on his doc from Edgar, Russell and Ron, we also find out about Annette, the screen musical written by the brothers, which stars Adam Driver and Marion Cotillard and was directed by Leos Carax.

Then, of course, there’s the odd anthem to feast your ears on!

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Episode 256:
Kate Herron & Natalie Holt On The Music Of Loki (BIG SPOILERS ALERT!!!)

Our latest guests on Soundtracking are a couple of young ladies who wowed Kevin Feige and his team at Marvel to collaborate on the studio’s latest offering on Disney+. No mean feat, given the history of the franchise, and we couldn’t be happier for them that they smashed it out of the park.

Director Kate Herron and composer Natalie Holt combined to magnificent effect on Loki, the mind-bending take on the Norse god of mischief, as played by recent guest on this podcast, Tom Hiddleston.

We talk Easter eggs, the theremin, Tom’s pissed singing and much, much more in this thoroughly enjoyable conversation.

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Episode 255:
Dominik Scherrer On His Music For The Serpent

Our latest guest on Soundtracking is a composer who provided the music for one of the water-cooler TV series of 2021.

We are, in case you’re wondering, talking about The Serpent, for which Dominik Scherrer has delivered a properly brilliant soundscape. Based true events, The Serpent tells the story of serial killer Charles Sobhraj, who murdered young tourists in Thailand between 1975 and 2000.

As well as Dominik’s score, the show also features loads and loads of needle-drops from the era, so you might get to hear a little bit of Serge Gainsbourg if you’re lucky …

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Episode 254:
Nick Broomfield On The Music Of Last Man Standing

Our guest on this week’s Soundtracking is a documentary maker returning to the podcast for a third time.

Nick Broomfield is always splendid company, and joins us once more to discuss his new film, Last Man Standing – a companion piece to Tupac & Biggie, which he made back in 2002 about the murders of the eponymous rappers. Here, he delves deeper into the role Death Row Records impresario Suge Knight played in their deaths – and speaks to more of the characters who were central to this extraordinary narrative.

Last Man Standing is scored by Nick’s regular collaborator, Nick Laird-Clowes, who was kind enough to furnish us with a few cues.

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Episode 253:
Tom Hiddleston Talks Music

Our latest guest on Soundtracking is not only someone Edith’s known for a very long time, but also someone who’s been a great supporter of this podcast since day one.

Tom Hiddleston is currently tearing up the screen as Loki on Disney +. It’s a brilliant vehicle for one of Marvel’s most enduring characters and a welcome return after – ahem, spoiler alert – what happened in Avengers: Infinity War.

As well as discussing Natalie Holt’s sonically adventurous score for the series, we also dive deep into Tom’s passion for music and soundtracks, and discover the song he sang at his drama school audition.

We hope you enjoy it as much as we did.

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Episode 252:
Harry Macqueen & Keaton Henson On The Music Of Supernova

Our latest guests on Soundtracking are actor, writer and director Harry Macqueen and musician Keaton Henson, who makes his first foray into film scoring for Harry’s deeply moving road movie, Supernova.

Starring Stanley Tucci and Colin Firth, Supernova tells the story of a gay couple who travel to the Lake District – after Stanley’s character Tusker has been diagnosed with early onset dementia.

Given he’s a film score newbie, Keaton has done a magnificent job with the music. And there are plenty of classy needle-drops too, including tracks by Dalton, Bowie and Waits.

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Episode 251:
John Krasinski & Marco Beltrami On The Music Of A Quiet Place

It’s becoming a bit of a thing, here on Soundtracking, having two guests for the price of one. But Edith is really pleased to welcome John Krasinski and Marco Beltrami to the podcast, given that A Quiet Place Part II was the first film she went to see in the cinema after the most recent lockdown.

Written and directed by John, and scored by Marco, the film tells the story of a family forced to navigate a world inhabited by blind aliens with heightened hearing. Best not make much noise, it’s safe to say!

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Episode 250:
Florian Zeller Discusses The Father

Edith spoke to our latest guest on Soundtracking in the midst of our very first lockdown – not only when we were considerably more uncertain about things than we are today, but also before we knew what an extraordinary impact his film was going to have on lovers of cinema.

Since chatting to Florian Zeller, his directorial debut The Father has had all manner of critical acclaim and recognition, including the award for best adapted screenplay (from Florian’s own play) and best actor for Anthony Hopkins at this year’s Oscars.

Now we’re not going to lie, there’s not a huge amount of music in The Father, so we don’t talk about it at great length, instead focussing on the very skillful way he tells a very challenging story. And we’re also going to suggest that if you haven’t seen it yet, DON’T LISTEN, because it really is one of those films best watched with as little foreknowledge as possible, and he gives a fair few trade secrets away.

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Episode 249:
Craig Gillespie & Emma Stone On The Music Of Cruella

It’s another double header for you on this week’s Soundtracking, with a director and one of his leading ladies joining me to discuss their spin on one of Disney’s most iconic villains.

Craig Gillespie and Emma Stone have, quite simply, created a fabulous Cruella De Vil. Effectively a prequel to the original animated classic, Cruella also stars Emma Thompson and Mark Strong among many other fine actors, and tells the story of Estella Miller, a fashion designer making her way in 1970s punk London who eventually becomes the titular baddie.

As well as featuring over 50 songs, the film is scored by our dear friend Nicholas Britell, who complimented the deluge of needle drops with what he told us was his first rock-driven score.

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Episode 248:
Junkie XL On The Music Of Justice League & Godzilla Vs Kong

Our latest guest on Soundtracking is a composer returning for a second visit, having scored pretty much every blockbuster to hit our screens in recent weeks.

The work of Tom Holkenborg – or Junkie XL, if you prefer – can currently be heard in the epic Snyder Cut of Justice League, Godzilla vs Kong, and the riotous Netflix Zombie heist flick Army Of The Dead, which hadn’t been released at time of recording.

He was on BRILLIANT form – so we hope you enjoy the chat and, of course, his music as much as we do.

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Episode 247:
Nicholas Britell On The Music Of The Underground Railroad

Our latest guest on Soundtracking is one our our faves – a supremely talented composer and all-round top fella, returning to the podcast for a third time.

As ever, Nicholas Britell’s services are in high demand – and he’s been keeping pretty busy during the pandemic and beyond Not only has he scored Barry Jenkins’s new Amazon Prime series, The Underground Railroad, but he’s also penned the music for Cruella and the forthcoming season 3 of Succession among other things.

As always, you’ll hear plenty of Nicholas’s music sprinkled throughout, illustrating the discussion.

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Episode 246:
Julie Taymor & Elliot Goldenthal On The Music Of The Glorias

Our latest guests on Soundtracking are writer / director Julie Taymor and her partner both romantically and creatively, the composer Elliot Goldenthal.

Julia and Elliot joined Edith to discuss The Glorias, a remarkable film about the life of journalist and political activist, Gloria Steinem, with different actors playing her in the various phases of her life. It’s a device that allows Julie all manner of scope for narrative fun and games, and elicits fine performances from leading ladies Julianne Moore, Alicia Vikander, Lulu Wilson and Ryan Kiera Armstrong.

They also reflect upon Elliot’s Oscar-winning score for Frida, which Julie directed.

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Episode 245:
6 Amelia Warner On The Music Of Wild Mountain Thyme

Our latest guest on Soundtracking is a rare thing in this business: a female composer.

Huzzah!

Amelia Warner is relatively new to the game, but is definitely making waves, having provided the scores for Mary Shelley and the brilliant BBC short, Leading Lady Parts.

Her latest offering is Wild Mountain Thyme. Written and directed by John Patrick Shanley, Wild Mountain Thyme is a comedic family drama set in Ireland starring Amelia’s husband Jamie Dornan, Emily Blunt and Mad Men’s Jon Hamm.

Her score beautifully combines sweeping orchestration and traditional Irish music tropes, and you’ll hear plenty of it throughout the course of the interview.

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Episode 244:
Dustin O’Halloran & Volker Bertelmann On The Music Of Ammonite

Our guests on this latest episode of Soundtracking are successful musicians in their own right who – not for the first time – have teamed up to deliver a stunning movie score.

Dustin O’Halloran and Volker Bertelmann first worked together on Garth Edwards’s Lion. They’ve since brought us the music to The Old Guard, The Art Of Racing In The Rain, A Christmas Carol and, most recently, Francis Lee’s Ammonite – which is available digitally but will also have a selected cinema release in the UK from 17th May.

They are properly lovely fellas, and exceedingly talented to boot. Enjoy!

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Episode 243:
Emerald Fennell & Carey Mulligan On The Music Of Promising Young Woman

Our guests on this week’s Soundtracking are a couple of ladies eyeing success at the Academy Awards on Sunday evening.

Emerald Fennell and Carey Mulligan have combined to great effect on the former’s directorial debut, Promising Young Woman, which she also wrote. Nominated for 5 Oscars – including best picture, director and actor – Promising Young Woman tells the story of Cassie, a med school dropout seeking to avenge the death of her best friend, who was a victim of rape.

By turns extremely funny, dark, and provocative, it also has a banging soundtrack and a fine score by Anthony Willis.

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Episode 242:
Kevin Macdonald & Chloe Zhao

We’ve cheated a bit this week – as one of our guests doesn’t really talk about music at all. But given her film Nomadland has just won a sackful of BAFTAs and is nominated for six Oscars too, we thought we’d cut Chloe Zhao a little slack.

To be honest, Edith just wanted to share the interview with you, so much does she love the film – which stars Frances McDormand as a woman who becomes ‘houseless’ and travels America following the death of her husband.

We’re also joined by Kevin Macdonald to discuss his new movie, The Mauritanian. Starring Jodie Foster, Tahar Rahman and Benedict Cumberbatch, The Mauritanian is based on the 2015 memoir Guant√°namo Diary by Mohamedou Ould Slahi, who was held for fourteen years without charge in Guantanamo. It’s scored by relative newcomer, Tom Hodge, and you’ll hear examples of his music throughout the conversation.

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Episode 241:
Riz Ahmed & Darius & Abe Marder On Sound Of Metal

We don’t just have one guest for you on our latest episode of Soundtracking – or even two. No, it’s a ‘three-for’ this week, as we explore the wonder that is Sound of Metal.

Nominated for six Oscars and four BAFTAs, including shouts from both for the extraordinary Riz Ahmed as best actor, Sound of Metal tells the story of a drummer, Ruben, who is going deaf – with all the emotional trauma that entails.

And Riz is one of our three guests, alongside director and co-writer, Darius Marder, who’s in the hunt for Best Picture and Best Original Screenplay at the Academy Awards, among other accolades. We’ll hear separately from Darius’s brother, Abe, who not only co-wrote the script, but also had the tricky job of articulating Ruben’s descent into silence sonically as a composer on the movie.

We also have to thank Abe for furnishing us with his yet-to-be-released music from the film, and Matthew at Nonesuch Records, who gave us the all clear to use it.

Sound of Metal is available to watch on Amazon Prime from 12th April, and is coming to cinemas on 17th May.

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Episode 240:
Emile Mosseri On The Music Of Minari

Our latest guest on Soundtracking is composer Emile Mosseri, who has deservedly been Oscar nominated for his score to the quite beautiful Minari.

Written and directed by Lee Isaac Chung, Minari tells the semi-autobiographical story of South Korean immigrants trying to make a new life in rural America during the 1980s. It’s available to watch as of today via the Altitude Film website – so you can find out for yourself why it’s earned six – yes six – Academy Award nominations.

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