SoundWorks Collection

How do you create a horror score that defies expectations? For Resident Evil, composers Hays Holladay and Ryan Holladay take an unconventional approach, blending manipulated brass, experimental electronics, and unexpected musical influences to create a distinctive sonic identity for director Zach Cregger’s film.In this conversation with SoundWorks Collection, the Holladay brothers discuss their long-standing creative partnership with Cregger, dating back to their years making music together in a band. They explore how that shared history has shaped their collaborative process, allowing them to experiment freely while remaining focused on the director’s vision.The brothers also reveal how jazz albums by Miles Davis, including Bitches Brew and Dark Magus, helped inform the score’s musical DNA, why they initially sought to avoid synthesizers, and how recorded trumpet and trombone performances were transformed into sounds that blur the line between acoustic instruments and electronic textures.From developing musical ideas before production begins to experimenting alongside the film’s edit, Hays and Ryan explain how an evolving, highly collaborative workflow allows them to discover the right sound for each scene. They also discuss the importance of restraint in horror scoring, avoiding genre clichés, and knowing when the most effective musical choice is to do less.Discover how the composers behind Resident Evil combine experimentation, shared musical instincts, and a deep creative connection with Zach Cregger to build a score that serves the film’s unsettling atmosphere and relentless action.Moderated by Charles Steinberg

The sound of Spider-Noir blends gritty period character with immersive mixing. Re-recording Mixer/Sound Designer Ryan Collins and Re-recording Mixer Nick Offord explore vintage dialogue treatments, atmospheric transitions, distinctive web effects, and inventive sonic details—including a unique sound for Spider-Sense—to create a fresh sonic identity for this new take on Spider-Man.The team also created a unique sonic identity for Spider-Man’s web powers, deliberately moving away from the familiar sound of previous Spider-Man films. Ben Reilly’s suppressed abilities inspired a drier, more cobweb-like sound incorporating textures reminiscent of bone creaks, while old magnetic film stock was manipulated to create the distinctive trailing sound of the web.Electricity was another opportunity for experimentation, combining synthetic sounds with organic details to give the power surges weight and scale while maintaining the show’s period character. Even small sounds were carefully crafted, including a skincare wand recording that became the foundation for subtle electrical movements.It’s a fascinating look at how Collins, Offord, and the wider sound team used experimentation, collaboration, and immersive mixing to give Spider-Noir a sonic identity all its own—all within the intense challenge of a five-day final mix.

Go behind the scenes of Monarch: Legacy of Monsters with re-recording mixer and sound effects editor Shaughnessy Hare and re-recording mixer Brittany Ellis as they explore the art of building scale, emotion, and immersion through sound. From shaping the massive presence of Titans like Godzilla to crafting intimate, story-driven moments, they break down how sound design, mixing, and music work together to guide the audience’s experience.

Go behind the scenes of "Springsteen: Deliver Me From Nowhere", the new film from Director Scott Cooper. We are joined today by production sound mixer Todd Maitland, composer Jeremiah Frates, Re-recording Mixer and Supervising Sound Editor David Giammarco, and Supervising Sound Editor Eric Norris.We discuss shaping the film’s sonic identity — from capturing live vocals on set, recreating Springsteen’s iconic studio environments, and blending Jeremy Allen White’s performances with Bruce’s original recordings, to using silence, heartbeat motifs, and era-specific gear like the Echoplex and the TEAC 114 tape recorder.Hear firsthand stories about filming at The Stone Pony, recording in the legendary Power Station, navigating the emotional father–son finale, and exploring Springsteen’s creative process through sound.

Step inside the sound design and mix of Paul Thomas Anderson’s newest film, One Battle After Another, with this in-depth look at the work of the sound team. Featuring Re-recording mixer, supervising sound editor, sound designer Chris Scarabosio, Re-recording mixer Tony Villaflor and Production Sound Mixer José Antonio García.We explore how immersive soundscapes were built, how tension was sculpted through long, slow-burn car chases, and how the mix strikes a nuanced balance between grit, realism, and cinematic scale. From chaotic riot sequences to the atmospheric “River of Hills” chase, the team breaks down how rumbles, rattles, wind, and road textures evolve into characters within the story.We also discuss what makes collaborating with Paul Thomas Anderson so distinct—his clear vision, his creative passion, and his fully hands-on approach to shaping every moment on screen.

Sara Bareilles’ song “Salt Then Sour Then Sweet”—written in collaboration with Andrea Gibson and Brandi Carlile for the documentary "Come See Me in the Good Light" directed by Ryan White —is a tender, emotionally charged meditation on healing and self-acceptance. The track carries Bareilles’ signature warmth and lyrical clarity, layered with Gibson’s poetic sensitivity and Carlile’s soulful, roots-driven intuition.The song moves like a journey through the textures of being human: the salt of old wounds, the sour of self-doubt and difficult truth, and ultimately the sweet arrival at compassion, resilience, and renewed connection. Its lyrics feel both intimate and universal, echoing the documentary’s themes of looking at oneself—really seeing oneself—in a softer, more generous light.“Salt Then Sour Then Sweet” stands as an anthem for anyone navigating their own evolution: a reminder that transformation is rarely linear, often messy, and always worth stepping into with courage. It’s a piece of music that honors vulnerability and celebrates the moments in life when clarity breaks through, turning pain into something beautifully human.Now Streaming on Apple TV:https://tv.apple.com/us/movie/come-see-me-in-the-good-light/umc.cmc.27uh51l7oh3ghql2gxb6xvb1sSUBSCRIBE ON YOUTUBE:http://bit.ly/SubscribeSoundWorksCollectionAUDIO PODCAST:https://linktr.ee/soundworkscollectionINSTAGRAM: https://www.instagram.com/soundworkscollection/TIKTOK:https://www.tiktok.com/@soundworkscollectionVIDEOS AND INDUSTRY NEWS:https://www.SoundWorksCollection.com

We chat with composer Danny Elfman about his new short film, A Danny Elfman Christmas Story — a whimsical exploration of the unlikely connection between one of Hollywood’s most inventive musical mind and the holiday season. From his hauntingly joyful work on The Nightmare Before Christmas to his fascination with the emotional balance between celebration and melancholy, Elfman’s take on Christmas music is anything but ordinary.Written and Narrated by: Danny ElfmanAnimation, Character, and Production Design: Pete CarsilloEditing and Visual Effects: Jon Mann-KriegerAudio Recording and Editing: Melisa McGregorFireside Photography: Bridget Fonda & Oliver ElfmanMusic by: Bartholomew Zanzibar III

In our exclusive SoundWorks Collection we chat with Actor, comedian, musician Fred Armisen about creating his new album, 100 Sound Effects.The goal was to create a number of specific and evocative sounds, but in addition to being a fun listen—pure and simple—100 Sound Effects has great value as an industrial tool, with sounds ready to be used in any number of entertainment projects. Some follow the basic blueprint, like doors shutting and glass breaking. Others are more abstract scenarios. With a track like Campfire Breakfast Conversation, Fred notes:“They could be used in a movie or a show as a distant sound. Like: ‘Listen, I think I hear campers down that way!’ Those can also be played on outdoor speakers, if you want to make your backyard sound like a popular camping area.”The majority of the album was recorded in studios, but occasionally ambient sounds were needed. Rather than rely on other sound effects records, Fred went outside and captured them himself on a portable digital recorder, pointing it at the sky, a car, or whatever was required. Some sounds demanded extra effort.“Glass breaking seemed like an easy part of the album,” he recalls, “but I forgot that I’d actually have to break and clean up glass. There’s this place in Van Nuys where you pay to go in and smash glass. It’s all very safe, and you have to wear goggles and a jumpsuit. What a great idea for a business. I want to go back and curate a smash room.”Fred also wanted to recreate other specific moments not usually found on sound effects records, like Music Venue Employee Kicking Everyone Out While Throwing Away Bottles—a surprisingly common scene for many of us—while also including versions of his personal favorite effects, which resulted in tracks like Small Theater Booing.With additional help and inspiration from Bill Hader, Mary Lynn Rajskub, Amber Coffman, Tim Heidecker, Riki Lindhome, and Alice Carbone Tench, Fred had a lot of fun making the album. The result, Fred Armisen’s 100 Sound Effects, is a sound effects album like no other—a fantastic contemporary entry in a classic category that can be used as a practical library or enjoyed for brain-stimulating deep listening.

In this exclusive SoundWorks Collection conversation, we chat with Oscar and Grammy-winning composer Gustavo Santaolalla and composer David Fleming about the emotional and sonic landscape of The Last of Us Season 2.The composers break down how they expanded the show’s haunting, intimate sound world—blending acoustic textures, raw instrumentation, and ambient tension to match the evolving journey of Ellie, Joel, and the world around them.

In this exclusive SoundWorks Collection conversation, discover how composer Theodore Shapiro created the haunting and minimalist score for the Apple TV+ series Severance. Known for his work on a wide range of films and shows, Shapiro takes a darker turn with this eerie, atmospheric soundtrack.We explore the stark piano motifs, analog synths, and dissonant strings and how the music perfectly captures the unsettling world of Lumon Industries.SUBSCRIBE ON YOUTUBE:http://bit.ly/SubscribeSoundWorksCollectionAUDIO PODCAST:https://linktr.ee/soundworkscollectionINSTAGRAM: https://www.instagram.com/soundworkscollection/TIKTOK:https://www.tiktok.com/@soundworkscollectionVIDEOS AND INDUSTRY NEWS:https://www.SoundWorksCollection.com