Chat Pile

There are a few perks to running every aspect of this site and podcast, the biggest being picking who I want to interview (and avoiding whomever I don't). Part of that, sometimes, is using film music as an excuse to interview bands that I just broadly like. Enter: Chat Pile. The Oklahoma noise rock band has one score under their belt, the 2022 indie crime flick Tenkiller, which they released as a score album after their debut God's Country, and have provided some songs for other films, most recently a track for the end credits to V/H/S/Halloween. Not to mention, they routinely talk about movies, including during their gigs. All perfect hooks to have them on, and so today I'm talking with vocalist Raygun Busch and guitarist Luther Manhole. As such, we jump around quite a bit: from their experience scoring Tenkiller, how movies brought them together and provide a mutual love, and some recent (and not to recent) scores that they've enjoyed (I'll note that at one point Ray is talking about the Bossa Nova score for Black Orpheus before getting interrupted by his dog...). We wrap up on a bit of a detour, actually talking about the economics of albums and touring, and how much a role cost of living plays into that. Chat Pile's music is available on all major platforms, chief among them being Bandcamp, or you can seek out their music physically. You can find out more about Chat Pile on their website and they have a new album on the horizon, In The Earth Again which they've co-written with Hayden Pedigo, coming out October 31st.

Although this podcast is called "The Film Scorer", every so often it's nice to chat with someone who does significant work in another medium instead. Today, that someone is Jesper Kyd (Hitman, Assassin's Creed). Jesper has been scoring for games for over thirty years, working on some of the biggest video game franchises around. But he's also worked on a number of films (like the Indian films Tumbbad and Crazxy), leading to the best answer I've ever gotten to the question "what's the difference between scoring for video games and movies?" Jesper's latest score is for Warhammer 40,000: Darktide. In fact, Jesper has been scoring this game for years - it first came out in November 2022, and with new maps, characters, events, and other updates he keeps writing new music for it. The result is four separate releases, the latest of which was just in August of this year, about 25 minutes of dark industrial electronic music for running and gunning. I must have spent a dozen hours listening to those releases getting ready for this interview, and let me tell you: I was ready to join the 40th millennia's endless war. Jesper's score for Warhammer 40,000: Darktide (Volumes 1-4), and much of his other music, is available on all major platforms. You can find out more about Jeremiah on his website.

I know I keep saying that the end of this season is imminent. And it is, but it seems like every time I think it's about dead it springs back to life for a little while longer. Reviving it this week is Jeremiah Fraites. Jeremiah is going to be best known as being one of the founding members of the hit alternative folk band The Lumineers, but lately he's expanded his horizons a bit. Specifically, Jeremiah has scored two films this fall: the Stephen King-based The Long Walk and the biopic Springsteen: Deliver Me from Nowhere. We spend most of our time talking about both scores, particularly The Long Walk (since Deliver Me from Nowhere isn't out yet), and of course that becomes a jumping off point for the conversation. We also cover things like how film has expanded music (including visualizing music as you write), getting his wife involved in the scoring process, the differences between writing original score and original songs for films (The Lumineers wrote some songs for The Hunger Games), and plenty more. Jeremiah's score for The Long Walk, and much of his other music, is available on all major platforms while The Long Walk is currently in theaters while Springsteen: Deliver Me from Nowhere hits theaters on October 24th.

Composer Jeff Danna (The Good Dinosaur, The Boondock Saints) joins me on The Film Scorer podcast just before we wrap up season 5! Oddly enough, I've listened to quite a bit of music from the Silent Hill franchise over the last 15 months or so, and it turns out that Jeff "scored" the two film adaptations from earlier in the 2000s (I used "scored" in quotes because the real story is a bit more complicated than that). So of course, I used our conversation as an excuse to ask all about Silent Hill, including why the first film never got a proper score release, and he tells me about having to re-record and re-create every single musical sound from Akira Yamaoka's game scores for the films. Quite a feat. Of course, Jeff didn't come on the show to talk about Silent Hill movies from 15-20 years ago. Instead, we spend most of our time talking about his score for the hit Netflix series The Hunting Wives. The conversation goes from creating a unique palette for east Texas (particularly through the Croatian prim), scoring sexiness (the key is not aiming for sexy music), and plenty more. Along the way, we get pretty in-depth about what makes for a good theme, when you need to cast one aside and start over, and how thematic music requires a commitment from the composer and the director; after all, the latter has to be comfortable with a a musical commitment to their characters, as character and theme become intertwined. Jeff's score, and much of his other music, is available on all major platforms while The Hunting Wives is currently streaming on Netflix. You can find out more about Jeff on his website.

In a Film Scorer first, a repeat guest joins the show! Daniel Pemberton (the Spider-Verse films, King Arthur) comes onto the show for a second time, after chatting with me back in 2023 about his score for Spider-Man: Across The Spider-Verse. Even though we're just over halfway through the year, Daniel's already scored about a half dozen projects, so we had plenty of things to talk about. With so much to pick from, we primarily talk about his recent work on the Black Mirror episode USS Callister: Into Infinity and Eddington - two extremely different projects with very different scores. Of course, even though our chat clocks in at just under half an hour we cover plenty of other ground too, including trends in modern film scoring and a big detour into Anton Karas's score for The Third Man. Daniel's score for Eddington and Callister, and much of his other music, is available on all major platforms. Eddington is still playing in select theaters and is available on demand while Callister is available on Netflix. And if you haven't yet, be sure to check out our prior conversation here: https://thefilmscorer.com/an-interview-with-daniel-pemberton/

Today I'm joined by Electric Youth! Well, one half of the electronic/synth pop duo - Austin Garrick - without his co-member Bronwyn Griffin. Their latest project is the score for North of Normal, a true coming-of-age drama that jumps between timelines in a forest commune in the 70s and city life in the 80s. Some of you may think that the band's sound would be anachronistic for a film with this setting, and while that may be true, their score still fits right in. Unsurprisingly, Austin and I spend most of our conversation talking about North of Normal, but we also touch on topics like Tangerine Dream and the joy of still getting "new" score releases from them, the importance of a well-curated score release album (learned from becoming fans of the medium at a young age), avoiding being pigeonholed in film and music genres, and plenty more! Electric Youth's score, and much of their other music, is available on all major platforms. North of Normal is currently available on demand or on Paramount+.

Carlos Rafael Rivera (The Queen's Gambit, Hacks) is one of the few composers my mom has asked me about, so I'm extra excited to have him join the show! Carlos's latest project is Department Q, his fourth series with writer-director Scott Frank (joining Godless, The Queen's Gambit, and Monsieur Spade, as well as the film A Walk Among The Tombstones). Normally this is where I'd say something like "unsurprisingly, we spend most of our time talking about that score", but that's not the case here. Instead, we spend most of the interview dancing around Department Q, whether it be talking about his career working with Scott Frank (going back to when he taught Scott guitar in the early 2000s), the changing nature of friendships as you age, or 80s thrash. Ultimately everything goes back to Department Q, but not everything is about Department Q. Carlos's score, and much of his other music, is available on all major platforms. Department Q is currently on Netflix. You can find out more about Carlos on his website.

What a surreal moment - getting to chat with Thomas Newman and Julia Newman! Whether you're a big film music fan or a casual film goer, I'll guess that you're familiar with Tom, having been nominated for fifteen Academy Awards (I accidentally say fourteen...) and scoring projects like The Shawshank Redemption, American Beauty, Finding Nemo & Finding Dory, 1917, and loads more. Now, Julia is picking up the family's film and tv scoring mantle, and the two of them recently co-scored Monsters: The Lyle and Erik Menendez Story, a dramatization of the Menendez brothers crimes. We use the series as a jumping off point for the conversation, regularly referring to and discussing it while also pivoting into broader conversations about collaboration, improvisation and working quickly, the use of theme and repetition, and plenty more. Monsters: The Lyle and Erik Menendez Story is currently on Netflix, and Tom and Julia's score (as well as much of their other work) is available on all major platforms. 

The Mission Impossible franchise has been going strong for nearly thirty years, so it's a bit surreal to see it apparently come to an end, with Tom Cruise hanging up the mantle as Ethan Hunt. To celebrate the final entry, Mission: Impossible - The Final Reckoning, the film's composers Max Aruj and Alfie Godfrey join the show! Naturally, the three of us spend most of the interview talking about Mission: Impossible, including spending a year straight exclusively scoring the film, how score fits into the broader film making process in a project of this scale, the difficulty in scoring the two major set pieces, and how and when to utilize Lalo Schifrin's iconic main theme. The last point was a particularly interesting one to me, as I've seen quite a few people wondering about it as well given that they don't quote the full theme often at all. Trust me, it's all intentional and done for good reason! I also want to point out how prevalent the theme of teamwork is in this interview. Naturally, it's become a main thematic motif throughout the film series, with Cruise's Ethan Hunt willing to essentially do anything possible to save his team (and, in turn, save the world). Would Max or Alfie hold onto a biplane as it speeds thousands of feet in the air? Not sure. But they will spend a lot of timing raising up their colleagues and team members. Something I can definitely get behind. One note: Alfie's voice is the first you'll hear and Max provides the first longer answer. Mission: Impossible - The Final Reckoning is currently in theaters, and Max and Alfie's score (as well as much of their other work) is available on all major platforms.

Ahead of the premiere of the third and final season of Squid Game, I chat with the show's composer, Jung Jae-Il (Parasite, Mickey 17). Obviously Jae-Il and I spend much of the conversation talking about Squid Game, including the palette, the differences in score and approach between the seasons (due to different games and loads of character deaths), and the closure that season 3 brings. Along the way we cover things like 90s British death metal, the piano as his natural language, the social themes of the projects he scores, and plenty more. Season 3 of Squid Game premieres on Netflix on June 27, and Jae-Il's score is forthcoming. However, much of Jae-Il's other music, including scores and solo work, is available physically and on all major platforms. We also used a translator here (although Jae-Il's English is very good), whose voice you will hear throughout the interview.