Bryce Dessner Scores Sing Sing

In a quick 1-2 punch after talking with Daniel Blumberg (The Brutalist), Bryce Dessner (The National, The Revenant, The Two Popes) joins The Film Scorer podcast! Bryce released two scores last year, for the films Sing Sing and We Live In Time. However, Bryce and I were under a tight time constraint and so had to pick and choose what we chatted about; no time for a classic rambling conversation. As such, we spend much of our conversation covering his score for Sing Sing. This includes, among other things, choosing to focus the music on nature and escapism (rather than the more obvious matching of the prison setting), making space for the performers, and the film's equitable compensation system. Of course, we still manage to pack a lot in, so we cover quite a bit more as well, both about Sing Sing and various unexpected topics. Bryce's score, and much of his other music, is available on all major platforms. Sing Sing was released earlier last year and will be re-released in theaters (at least in the US) on January 1. You can find out more about Bryce on his website.

Much to my dismay, The Brutalist is not an industrial grindcore band. Nonetheless, I feel compelled to talk about it. As such, composer Daniel Blumberg joins the show! It should be no surprise, then, that we spend much of our time talking about his score to Brady Corbet's 3.5 hour epic, which is only Daniel's second feature score. This includes discussing the balance between improvisational and written music (especially when scoring to picture), using prepared piano to mirror the imagery and plot of the film, and how he and the sound design team overlapped their crafts to confuse the audience (and some of the other crew). Of course, we chat about a bunch of other things in between. Daniel's score, and much of his other music, is available on all major platforms. The Brutalist is forthcoming, currently in limited theatrical release and will expand shortly.

Composer Donna McKevitt joins The Film Scorer Podcast! Donna is someone that I've chatted to here and there over the last few years, so it was a treat having her on the show and finally getting the chance to "meet" her. Her latest scores are for The Swimming Diaries and My Name is Alfred Hitchcock, two very different documentaries and very different scores. Unsurprisingly, we spend much of our conversation talking about those two works, while also pivoting into other topics like the discrepancy in representation of male and female composers, the challenges that touring musicians face (and how much better things used to be, such as during her time in Miranda Sex Garden), and plenty more. Donna's scores, and much of her other music, is available on all major platforms. The Swimming Diaries and My Name is Alfred Hitchcock are both forthcoming. You can find out more about Donna on her website.

The Angel (Boiler Room, Kidulthood) joins The Film Scorer! Angel's latest score is for the crime thriller Heist 88, which came out last year but her score only released last month. As such, we spend much of our conversation talking about the score, including the hybrid palette, influences from Chicago's 1980s club/house music scene, and getting into Courtney B. Vance's head. We also touch on some of her other film and TV projects, her long career as a record producer and DJ, obtaining her early publishing catalog from Sony, and plenty more! Angel's score, and much of her other music, is available on all major platforms. Heist 88 is currently available on Paramount+ or on demand. You can find out more about Angel on her website.

In the latest episode of The Film Scorer podcast I'm joined by Wilbert Roget, II (Star Wars: Outlaws, Helldivers 2, Mortal Kombat). While Wilbert is best known for his work scoring video games, including recently receiving a Grammy nomination for Star Wars: Outlaws, our focus is on something a little different. Wilbert has just made his first foray into scoring for tv, with the limited series Gundam: Requiem for Vengeance! As such, we dig deep into his score for the six-episode series, including building out the eclectic sonic palette, working closely with the Japanese team, being the first non-Japanese composer to score a Gundam project (and the pressures that come with that, and plenty more. He even lists some of his favorite Gundam series, both in terms of overall show as well as primarily for their score. We also drive down other avenues, such as his work on other games, scoring 48-hour game jams, and how Japanese music his significantly impacted him. Wilbert's score, and much of his other music, is available on all major platforms. Gundam: Requiem for Vengeance is currently on Netflix (at least in most territories). You can find out more about Wilbert on his website.

Season 5 of The Film Scorer Podcast continues to pick up steam as Kris Bowers (Bridgerton, Green Book) joins the show! The Academy Award winner and nominee (who was just nominated for a Grammy for his score to The Color Purple a few days ago) recently scored the hit animated film The Wild Robot. As such, Kris and I spend much of our conversation talking about his score, which is both adventurous and a tearjerker, and filled with thematic exploration. The conversation touches on the challenges of scoring for animation, the increasing amount of space the film made for Kris's score, how it let Kris run wild with his passion for thematic and melodic scoring (drawing a number of Star Wars parallels), and plenty more. Kris's score, and much of his other music, is available on all major platforms. The Wild Robot is currently in theaters, and available to watch at home now. You can find out more about Kris on his website.

Season 5 of The Film Scorer Podcast is here! In the Season 5 premiere I chat with composer Amelia Warner. Amelia's latest score is for the Disney sports biopic Young Woman and the Sea (starring Daisy Ridley), about Trudy Ederle, the first woman to swim across the English Channel. As such, we spend much of our conversation focused on that score, including how her score and approaches developed over time, balancing the film's sports and family aspects, working closely with legendary producer Jerry Bruckheimer, and plenty more. Along the way, we also talk about things like Mary Shelley and the pros and cons of temp music. Amelia's score, and much of her other music, is available on all major platforms, and Young Woman and the Sea is currently available on Disney+. You can find out more about Amelia on her website.

Season Five of The Film Scorer Podcast is almost here! The new season launches on Sunday, October 27th, with new episodes continuing every other Sunday after that (more or less). Given the breadth of guests in season three, including Academy Award nominated actor-turned-composer Viggo Mortensen, Pulitzer Prize winner Michael Abels, 2024 Academy Award nominees Jerskin Fendrix and Laura Karpman, Vampire Weekend’s Rostam Batmanglij, you never who will show up this time around - all I can say is I already have some great guests lined up! So subscribe on your favorite podcast platform, follow The Film Scorer on Instagram, Twitter, and Threads, and keep those ears open!

Dipping back into the well again, reaching to September 2020, here's the audio version (cleaned up and shortened) of my review of Mondo Boys' score for She Dies Tomorrow. Again, the audio is still a little rougher but after thirty seconds or so you don't really notice (or at least I didn't as I was editing). There's also a nauseating little cue thrown in the middle - which I embarrassingly called a "song", which Sony was kind enough to give me permission to use when I first recorded this. I don't have a written review of this one, but I did end up reaching out to Mondo Boys shortly after and interviewing them: https://thefilmscorer.com/an-interview-with-mondo-boys/ This is one of my favorite interviews, because we recorded for about two and a half hours on a Saturday night, drinking whiskey. How I turned it into a tight, coherent, sub-hour interview I don't know...

Just because the podcast is between seasons and on a brief hiatus doesn't mean that the work stops. To keep me busy, I chatted with Brooke Blair and Will Blair (Blue Ruin, Green Room), the very rare sibling composer duo, about their latest score: Rebel Ridge. Rebel Ridge marks the fifth collaboration between the Blair Bros. and director Jeremy Saulnier, and is arguably their best. As such, we spend much of our time talking about their score, including developing the palette, experimenting with and avoiding musical clichés, and mimicking cicadas as a “symphony of terror”. Beyond that, though, we discuss what it's like to build your career alongside a director, how to uncover a director's preferences (and the benefits in doing so), working as brothers (including when their third brother, Macon (I Don't Feel at Home in This World Anymore) gets added to the mix, and plenty more. I even try to get a little inside information about the forthcoming Toxic Avenger film, which they scored and their brother Macon directed, but no luck. For your benefit, the first long answer you'll hear comes from Will. Brooke and Will's score, and much of their other music, is available on all major platforms, and Rebel Ridge is currently available on Netflix. You can find out more about Brooke and Will on their website.