Skin

Matthew Sweet in conversation with the Oscar-winning composer of Shakespeare in Love, Stephen Warbeck.

Matthew Sweet celebrates 50 years of one of cinema's greatest collaborations - that of director Steven Spielberg and his composer of choice, John Williams. With music from E.T. The Extra-Terrestrial, Indiana Jones, Jaws, Schindler's List and Jurassic Park. Matthew gives us a close encounter with the music for Close Encounters Of The Third Kind as he analyses the scene of humanity's first contact with the alien mothership.

Laura Karpman is best known for her work composing the soundtracks for The Marvels, and the Disney+ series Ms Marvel and What If… She joins Matthew Sweet from her studio in LA overlooking the Pacific and talks about studying under Milton Babbitt and Nadia Boulanger, scoring for documentaries, attending the Last Night of the Proms and the influence of Benjamin Britten on her score for The Marvels.

This weekend sees the relaunch of Hammer Studios and the release of a new telling of the Dr Jekyllstory, starring Eddie Izzard. Matthew looks back on Hammer’s contribution to cinema and to some of the often inventive and even experimental composers who have created music for the studios since its inception in 1934. Hammer Horror - the vibrantly colourful and distinctive engagements with terror that starred the likes of Christopher Lee and Peter Cushing. Films that brought us recurring tales of The Mummy, Dracula and Frankenstein; and music from the likes of James Bernard. But there was so much more to Hammer. The programme includes cues from Doreen Carwithen for Robin Hood, Tristan Carey’s early electronic experiments for Quatermass, Franz Reizenstein’s parody score for The Mummy, Harry Robinson’s musical evocation of Carmilla, and Mario Nascimbene’s pioneering work for One Million Years BC. Plus, of course, classic Hammer moments from James Bernard. And Matthew also talks to composer Blair Mowatt about his score for the new Dr Jekyll film.

What was your experience of a first date at the cinema? Presumably you arrived together - but did you leave separately? Matthew Sweet listens to listeners' experiences of their movie first-dates and - rather appropriately - plays great, thrilling and tragic music from the films.

Matthew Sweet's guest this week is the composer George Fenton. His breakthrough came with Richard Attenborough's biopic Gandhi, since then he's scored over 100 films including Cry Freedom, Shadowlands, The Madness of King George, Groundhog Day and The Wind that Shakes The Barley. He speaks to Matthew about his rich and varied career as well as his assocations with directors such as Richard Attenborough, Stephen Frears, Nora Ephron - and Ken Loach, whose latest film, The Old Oak, is released his week.

Of all the genre titles the 'family film' is perhaps the trickiest to define. Its intention, clearly, is to entertain and appeal to the whole family - togetherness. But what are the specific ingredients that make it so? Nevertheless, cinema goers seem to have a good sense of what an advertised family film might have to offer. Matthew Sweet looks back at this category of film, which seemed to spring into existence in America around the 1930s, and he foregrounds the music of some of the best and most defining examples.The programme includes music from Home Alone, Snow White and the Seven Dwarves, Gulliver's Travels, Honey I Shrunk The Kids, The Seventh Voyage of Sinbad, Chitty Chitty Bang Bang, ET - The Extra Terrestrial, Kiki's Delivery Service, Paddington 2 and the Classical Score of the Week - the Harry Gregson-Williams and John Powell score for Shrek.

From the Life of Pi to The Jungle Book; His Dark Materials to Wolverine, Matthew Sweet features film music shaped by the fantastical idea of humans as animals. We'll hear of spirit animals, cursed princes, what happens when your parents are turned into pigs (Spirited Away) or your mum becomes a bear (Brave). And we adopt the mantle of The Batman to root out the animal powers of superheroes. The programme also features music from the new release 'Blue Beetle' composed by Bobby Krlic.

Following the release of Greta Gerwig's Barbie, Matthew Sweet considers cinema's fascination with the colour pink. Many films adopt a colour code to establish the mood and tone of the movie. The colour pink in particular has associations with love, innocence, femininity, charm and fun. In this edition of Sound of Cinema, Matthew focuses on music for films which exploit these ideas of pinkness - for films such as Grease, Batman Returns, Steel Magnolias, Legally Blonde, The Devil Wears Prada, Paddington... and Harry Potter.

With the appearance of the eagerly anticipated new Christopher Nolan biopic about Oppenheimer, Matthew Sweet turns his attention to film scores bent on destruction, including Ludwig Goransson's score for the new film. The programme includes music from The Hitchhiker's Guide To The Galaxy, When Worlds Collide, Melancholia, Wandering Earth, Deep Impact, Armageddon, The Man Who Fell To Earth, Rogue One - A Star Wars Story, Star Wars - A New Hope. The Classic Score of the Week is Star Trek II - The Wrath Of Khan.