In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films.https://twitter.com/soundtrackingukhttps://www.facebook.com/Soundtrackingwithedithbowman/https://play.spotify.com/user/soundtrackingwithedithbowmanhttps://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x
Our guest on this week's Soundtracking is a writer/director we've long admired, from his Oscar nominated The Squid And The Whale to Frances Ha and Mistress America.
Now Noah Baumbach brings us Marriage Story, a hugely acclaimed tale of a couple (played by Adam Driver and Scarlett Johansson) going through a horrible divorce. Available to watch now on Netflix, Marriage Story is scored by none other than Randy Newman.
We're very excited about our latest episode of Soundtracking, which sees Edith joined by a supremely gifted actor, Edward Norton. Well, we say actor, but he's a little bit more than that, having written, produced and directed his latest project, the neo-noir Motherless Brooklyn.
Based on a novel by Jonathan Lethem, Motherless Brooklyn tells the story of Lionel Essrog, a private investigator with Tourette's syndrome trying to solve the murder of his mentor.
The film serves up a sonic feast - from our Daniel Pemberton's wonky jazz-infused score to an original song by Thom Yorke featuring Flea and a considerable contribution from virtuoso horn player, Wynton Marsalis.
We should say it also contains spoilers - but for Chinatown rather than Edward's own film!
One of our favourite films of the year has undoubtedly been Joker. We've already spoken to composer Hildur Guðnadóttir about her score for the movie, and now it's an utter delight to welcome director Todd Phillips back to Soundtracking for a second sitting.
There was much to discuss, from Hildur's stunning contributions to the influence of Charlie Chaplin and the thorny issue of why he used a Gary Glitter cue.
We also have tracks from Frank Sinatra and Jimmy Durante.
Our guest on this week's soundtracking is something of a protofeminist in Hollywood terms, in that he makes it his mission to put strong, charismatic women at the very centre of his narratives.
Paul Feig made his name with Bridesmaids in 2011 - a much loved comedy starring Kristen Wiig, Rose Byrne and Mellisa McCarthy that has more than stood the test of time. 8 years later he's back with another female-led offering, Last Christmas, which was written by (and features) Emma Thompson and sees Emilia Clarke take the lead.
Scored by Paul's regular collaborator Theodore Shapiro, Last Christmas is held together musically by a string of George Michael classics, both of whose work you'll hear plenty of ...
Our latest guest on Soundtracking is something of a demigod when it comes to the realms of music and film.
Anton Corbijn is a Dutch photographer, music video director and filmmaker who has snapped anyone who's anyone in the music industry, including Bob Dylan, Bjork, Bruce Springsteen and Miles Davies. Indeed, it was he who took those iconic pictures of Joy Division in the subway tunnel, beginning a relationship which ultimately led to him bringing us the Ian Curtis biopic, Control.
Anton has also had a long-standing relationship with U2 and Depeche Mode, and it is Depeche Mode's final concert of their Global Spirit tour that is the subject of his latest project - the documentary, Spirits In The Forest, which places a specific focus on six of the band's fans.
Depeche Mode: SPIRITS in the Forest is in cinemas for one night only worldwide on 21 November. Find your closest screening at spiritsintheforest.com (https://www.spiritsintheforest.com/)
It's a welcome return for David Michod to our latest episode of Soundtracking, in which the Australian director talks us through the music for his latest film, The King.
The King is available on Netflix now, and is loosely based on on William Shakespeare's plays relating to Henry V.
In putting the movie together, David turned to a couple of friends of this show: co-writer and actor Joel Edgerton and composer Nicholas Britell. It's an intentionally otherworldly score, and, as ever, you'll hear plenty of it throughout the course of the conversation.
Our guest on this latest episode of Soundtracking is an actor who made his name portraying one of the most iconic frontmen ever to have graced a stage.
Sam Riley's performance as Ian Curtis of Joy Division in Control was, quite simply, stunning - and perhaps informed by his own experiences of playing in his own band, 10,000 Things. As you'll discover, Sam is not only a great lover of music, but also absolutely cracking company.
He can currently be seen appearing in Maleficent: Mistress Of Evil alongside Angelina Jolie.
Our latest guest on Soundtracking is someone we've been wanting to get on the podcast for a very long time - as have many of you, judging by the feedback we receive on social media.
Mica Levi, also known by her stage name Micachu, is a classically trained composer who came to the attention of the film world in 2014 with her debut score for Jonathan Glazer's Under The Skin.
Not only did Mica's work on her next film, Jackie, gain an Oscar nomination, but it also garnered vocal praise from none other than Ryuichi Sakamoto.
Now she's teamed up with Alejandro Landes for Monos, a deeply unsettling movie in which eight children with guns watch over a hostage and a cow on a faraway mountaintop.
It's another double-whammy on our latest episode of Soundtracking - this time in the shape of two composers of world-wide repute.
Michael Giacchino cut his teeth on video games, before turning his attentions to film and television, with a host of award-winning scores for films such as The Incredibles, Up, Rogue One and Star Trek.
David Arnold, meanwhile, is a much-loved British artist who's been making screen music for nigh-on three decades - with Zoolander, Tomorrow Never Dies and Sherlock among his many credits.
Edith caught up with them ahead of a very special evening at London's Royal Albert Hall called Settling The Score, in which they played some of their greatest hits, for want of a better expression.
It's a double-whammy on our latest episode of Soundtracking, as we bring you two extremely talented ladies charting very different courses in the world of cinema.
First up is Hildur Gudnadottir. Well known to fans of this podcast - on which she has featured by proxy many, many times - Hildur has gained broader and much deserved recognition for her work on Joker - Todd Phillips's origin story about the eponymous super-villain that has proved hugely popular among movie fans and critics alike. If you haven't seen it yet, Joaquin Phoenix's performance is astonishing, as is Hildur's suitably disturbing score.
Then we have Dolly Wells, a much-loved British comedy actor who has just made her directorial debut with Good Posture. She and I have more of a chat about her career in television and film than the usual focus on music, but she's an utter delight, so we really wanted to share it anyway.
Our latest guest on Soundtracking is John Crowley, the Irish film and theatre director who previously brought us critical successes Intermission, Boy A and Brooklyn.
His new offering is The Goldfinch. Based on Donna Tart's novel of the same name, the narrative centres on Theo, a young man who takes a painting from a museum after his mother dies in a terrorist attack.
While the cinematography is provided by undisputed master of the art, Roger Deakins, John went for a relative novice in Trevor Gureckis for the score. As ever, you'll hear plenty of Trevor's work throughout the conversation.
Edith's guest on the latest episode of Soundtracking is a composer who has been pushing sonic boundaries for three decades.
As well as releasing numerous albums and EPs under various monikers, Matthew Herbert has also scored a diverse range of films, including three for Chilean director Sebastian Lelio.
The word is overused, but we reckon he's a true visionary.
He now has television credits to his name too, with his latest project Temple currently available on Sky and Now TV.
As always, you'll hear plenty of Matthew's work throughout the conversation.
If you haven’t been addicted to Peaky Blinders since it first aired in 2013, then you need to get yourself off to the BBC iPlayer at once and start catching up. All episodes are currently available for varying degrees of time, and we highly recommend you get involved before it's too late.
Directed by Anthony Byrne, the latest season sees Cillian Murphy return as Tommy Shelby, head of the eponymous gang vying for underworld supremacy in inter-war Birmingham.
And we're delighted to say that both Anthony and Cillian are with us on Soundtracking to discuss the show’s extraordinary music - which dares to put contemporary alternative artists against the period backdrop. As such, some of the lyrics are quite fruity!
We should mention Edith spoke to them not only before Season 5 screened, but before Anthony had even finished editing it.
We should also mention we had a few problems with Edith's mic during the recording, which we’ve dealt with as best we can. Thankfully, though, the lads sound fine, which is all that really matters.
There can be few cinematic genres that benefit more from the power of score than horror.
And it IT and IT: Chapter 2, writer / director Andy Muschietti and his composer Benjamin Wallfisch have nailed it.
Reflecting the shape-shifting abilities of Pennywise The Clown, Benjamin has produced a soundscape which Andy describes as 'bendy' - that switches in an instant from the safe and dreamy to something altogether more dark and twisted.
We have the miracle of social media to thank for our latest episode of Soundtracking, after Edith reached out to the one and only Alan Silvestri on Twitter. And, gentleman that he is, he very kindly invited her to meet up with him on a recent visit to London.
Alan is responsible for some of Hollywood's most memorable scores and themes, from Back To The Future and Forrest Gump to Castaway and The Avengers. In recent times, his longstanding relationship with Robert Zemeckis is perhaps only matched by that of Steven Spielberg and John Williams.
As if that weren't enough, he also wrote most of the music for the classic TV show, Chips ...
Our latest guests on Soundtracking are husband and wife duo Aaron and Sam Taylor-Johnson, who have joined forces on a number of levels to bring us A Million Little Pieces.
An adaptation of James Frey's book of the same name, it's based on the author's experiences in rehab as he attempted to recover from alcohol and drug addiction. Despite the well-documented controversies surrounding the veracity of some of James's account, there's no denying it's power as a study of what it's like to hit rock bottom.
Sam and Aaron wrote the script together, before Sam got behind the camera and Aaron in front of it to take the lead role. They also worked as producers on the film.
The score, meanwhile, is provided by Atticus Ross - a frequent collaborator with Trent Reznor.
Something of a first on our latest episode of Soundtracking, as we're not only joined by a world-class director, but also his world-class translator.
To be fair, Pedro Almodovar's English is certainly better than Edith's Spanish, but we are eternally grateful to the lovely Maria for stepping in when he occasionally reverted to his mother tongue.
Pedro's latest film is Pain And Glory - a semi-autobiographical tale in which he draws on his own experiences to explore the life of Salvador Mallo, a director in decline.
Pain And Glory reunites Pedro with a number of longtime collaborators, including leading man Antonio Banderas, Penelope Cruz and composer Alberto Iglesias.
As well as plenty of Alberto's music, we also feature cues by Ryuichi Sakamoto, Ennio Morricone and Grace Jones.
What better way to start the fourth year of our film music podcast Soundtracking than with one of the undisputed kings of the art, Quentin Tarantino.
His new movie Once Upon A Time In Hollywood is everything you'd hope for when it comes to the deployment of pop cues, and also features score by the likes of Bernard Herrmann and Maurice Jarre.
Starring Leonardo DiCaprio (https://en.wikipedia.org/wiki/Leonardo_DiCaprio) , Brad Pitt (https://en.wikipedia.org/wiki/Brad_Pitt) and Margot Robbie (https://en.wikipedia.org/wiki/Margot_Robbie) among many others, Once Upon A Time is set in 1969 Los Angeles (https://en.wikipedia.org/wiki/Los_Angeles) , where an ageing television actor and his stunt double navigate the changing Hollywood film industry. It blends fiction with real events - most notably the murder of Sharon Tate at the hands of the Manson family.
This week marked the third birthday of our film music podcast Soundtracking - which is a milestone we’re very proud to have reached.
That we’re still going is thanks in no small part to you, and of course the guests who take half an hour out of their busy schedules to talk to me about their passion for all things sonic.
To mark the occasion, we’ve drawn together some of our favourite moments from the past year, which has featured many huge names from the world of cinema and television.
Among the voices you’ll hear are Bradley Cooper, M.I.A., Peter Jackson, M Night Shyamalan, Thelma Schoonmaker, Barry Jenkins, Jordan Peele, Cliff Martinez, Keanu Reeves & Danny Boyle - with some fabulous cues to boot.
Our latest episode of Soundtracking has been some time in the making - so busy is the composer in question. But, boy, was it worth the wait.
Max Richter is a name that's come up on numerous occasions on our film music podcast, with Joe Wright, Denis Villeneuve, Yann Demange and John Ridley among those who have either enlisted his services or used his original compositions in their work.
So we were truly humbled when Max agreed to join us on stage at London's BFI for one of our live events recorded in front of an audience.
Though we barely scratched the surface of his extraordinary back catalogue in the hour or so we had with him, we still covered a lot of ground, including his contributions to Waltz With Bashir, Mary Queen Of Scots, White Boy Rick, Black Mirror and Arrival.
Our latest guest on Soundtracking makes a very welcome return to the show, having given us something of a retrospective on his astounding career back in episode 45.
Nick Broomfield is multi-award winning documentary maker who, among many other subjects, has made several films about musicians - including Kurt & Courtney, Biggie & Tupac and, most recently, Whitney Houston.
Continuing the theme, Marianne and Leonard: Words Of Love, is an intimate meditation on the relationship between Leonard Cohen and his Norwegian muse, Marianne Ihlen. It's a deeply personal project for Nick, who met Marianne during a visit to the Greek island of Hydra when he was 20, and also encountered Leonard on the LA party scene.
As with Whitney, Marianne and Leonard is scored by Nick Laird-Clowes , who consciously borrowed heavily from Cohen's musical lexicon to create a coherent sonic backdrop to the narrative.
We are also extremely grateful to (composer) Nick for providing us with several of his yet-to-be released cues from the movie
Back in 2016, Jon Favreau was kind enough to be the very first person we recorded for our film music podcast, Soundtracking. 151 episodes later, and Jon returns to discuss his flabbergasting remake of Disney's much-loved Oscar-winning musical, The Lion King - a mind-boggling photorealistic animation starring Donald Glover (https://en.wikipedia.org/wiki/Donald_Glover) , Seth Rogen (https://en.wikipedia.org/wiki/Seth_Rogen) , Chiwetel Ejiofor (https://en.wikipedia.org/wiki/Chiwetel_Ejiofor) , Billy Eichner (https://en.wikipedia.org/wiki/Billy_Eichner) , and Beyoncé (https://en.wikipedia.org/wiki/Beyonc%C3%A9_Knowles-Carter) .
As with the 1994 version, this new film is scored by our old friend Hans Zimmer, with Elton John returning to rework his compositions from the original alongside South African composer, producer and singer Lebo M. Pharrell Williams also produced five of the tracks.
Edith's latest guest on Soundtracking is one seriously multi-talented lady.
Emma Forrest is a journalist, novelist and screenwriter - who has now added directing to her CV with her drama, Untogether.
Starring Lola and Jemima Kirke, Jamie Dornan, Billy Crystal and Emma's former husband Ben Mendelsohn, Untogether tells the story of two sisters in the throes of relationships that are challenging for very different reasons. Music plays a key part in setting the tone, with one specific track by Primal Scream inspiring the whole film.
The film is scored by Robin Foster. And it's with Robin's track Hercules Climbs The White Mountain that we begin, since this was the piece he played to Emma that provided the basis for the entire soundscape of the movie ...
Edith had such fun recording our latest episode of Soundtracking - given that it's with two of the most friendly, eloquent and enthusiastic gentlemen in the business (not to mention talented).
Writer Richard Curtis and director Danny Boyle have teamed up for the romantic comedy, Yesterday. Starring Himesh Patel, Lily James, Ed Sheeran and Kate McKinnon, Yesterday tells the story of struggling musician who, after an accident, finds himself the only person who remembers The Beatles. Naturally, he seizes this opportunity and becomes famous taking credit for writing and performing their songs.
Despite the offbeat premise, it really does work, and also gives us the perfect excuse to play loads of the Fab Four's music.
Our guest on this week's Soundtracking is the extremely talented and likeable director Yann Demange. Having made his name with TV shows such as Dead Set and Top Boy, Yann moved into cinema with '71, a critically acclaimed drama about the Troubles in Northern Ireland. '71 is scored by David Holmes, who was also instrumental in helping Yann pick the music for his second feature, White Boy Rick.
Based on an incredible true story, White Boy Rick stars Richie Merritt as Richard Wershe Jr. (https://en.wikipedia.org/wiki/Richard_Wershe_Jr.) , who became the youngest FBI informant ever at the age of 14 in the 1980s.
The film is scored by wonderful Max Richter - who you'll be able to hear on this podcast soon - and also features a banging set of tunes from the 70s and 80s.
We couldn't be more excited about our latest episode of Soundtracking, recorded with the one and only Cliff Martinez at his beautiful home & studio in Topanga Canyon, California.
Cliff's name has come up on countless occasions since we started this podcast - not least in the company of Steven Soderbergh, Nicolas Winding Refn, Todd Phillips and Drew Pearce, all of whom have employed the expert services of the former Red Hot Chilli Pepper to score their movies.
We'll hear plenty more about all of these fine gentleman - and get the inside line on Cliff's work on films such as Sex, Lies and Videotape, Drive, Only God Forgives, War Dogs and Hotel Artemis.
As with the lunar landing and assassination of JFK, there are a fair few folk who can tell you exactly where they were and what they were doing when Diego Maradona punched the ball into Peter Shilton's net, sending Argentina on their way to victory in the quarter final of the 1986 World.
So it's no surprise, over three decades later, that someone has decided to tell the story of this enigmatic sporting superstar. And that someone is our old friend Asif Kapadia, returning to Soundtracking to discuss his revealing biopic, Diego Maradona.
Having previously explored the lives of troubled geniuses Ayrton Senna and Amy Winehouse, Asif has once again cast a forensic eye across a mind-bendingly brilliant yet undoubtedly flawed individual - with the key difference in this instance being that his subject is still alive.
The results are utterly captivating.
As with both Senna and Amy, Asif turned to Brazilian composer Antonio Pinto for the score. And, as ever, you'll hear plenty of Antonio's work throughout the course of the conversation, as well as a killer disco-tinged boomer from Todd Terje ...
Three inspirational women are the stars of our latest episode of Soundtracking, Edith's weekly screen music podcast, as we bring you another of our live events recorded at London's British Film Institute.
Carly Paradis, Amelia Warner and Emilie Levienaise-Farrouch are all making big waves in the world of film composition - which, let's be honest, is (like the rest of the business) rather male dominated. So is was an absolute pleasure to get them on stage together in front of an audience to appreciate and celebrate their work.
Though this was recorded quite a few months ago, we've held it back because, on June 12th in London, a new concert event celebrating the work of female composers in film & media will take place at EartH in Hackney, in which all three will feature.
More information on that event can be found here (https://earthackney.co.uk/calendar/composher) .
It's three for the price of one on the latest episode of Soundtracking.
First up is actress, producer and now director, Olivia Wilde, who makes her debut behind the camera with Booksmart.
A coming-of-age comedy/drama starring Kaitlyn Dever and Beanind Feldstein, it boasts a killer soundtrack and a super-cool score by Dan The Automater.
As if that weren't enough, we then welcome director Dexter Fletcher and composer Giles Martin, who join forces to fabulous effect on the Elton John musical biopic, Rocketman. Starring Taron Egerton in the lead role and Jamie Bell as Elton's longtime collaborater, Bernie Taupin, the film features all the classics, reworked for the purposes of the narrative by Giles.
But we begin with Olivia - who we can assure you knows and loves her music. As we mentioned, she's used a number of great needle-drops in Booksmart, including tracks by LCD Soundsystem, Lizzo and Anderson Paak. Dan the Automator, meanwhile, compliments her choices with his score, which more than passes as a standalone work of beats, breaks and dreamy electronica ...
It's a welcome return for Guy Ritchie (https://audioboom.com/posts/5958794-episode-42-guy-ritchie-on-the-music-of-king-arthur-snatch-the-man-from-u-n-c-l-e) to Soundtracking, Edith's weekly film music podcast. And it's also a welcome return for Aladdin, making his first big screen appearance since 1992 in Guy's live action remake of DIsney's animated classic.
In this visually stunning reboot, Will Smith is charged with filling Robin Williams's considerable boots as Genie, with Mena Massoud and Naomi Scott playing Aladdin and Jasmin respectively.
As with the animation, this latest incarnation is scored by Alan Menken, who won an Oscar and Golden Globe for the original. And in addition to a new number called Speechless, it features plenty of familiar tunes, including the classics Arabian Nights, One Jump Ahead and Friend Like Me.
We are truly in the company of cinematic royalty on the latest episode of Soundracking, as Keanu Reeves joins John Wick director Chad Stahelski to discuss chapter 3 of the hugely enjoyable franchise.
Theirs was very much a partnership forged during the filming of The Matrix trilogy - on which Chad worked as both a stuntman and stunt co-ordinator. When Keanu received the script for Wick, he invited Chad on board, who in turn enlisted the services of composers Tyler Bates and Joel J. Richard.
They provided the scores for all three movies, and as ever you'll hear plenty of their work sprinkled throughout the conversation - as well as a couple of classic needle drops from The Matrix.
We have a treat for you on our latest episode of Soundtracking, not just in the shape of our guest but also the quite magnificent score that accompanies his new film.
For director Dome Karukoski wisely enlisted the services of the incomparable Thomas Newman for Tolkein, a biopic on the life of The Hobbit and Lord Of The Rings author. Starring Nicholas Hoult, Lily Collins, Colm Meaney, and Derek Jacobi, Tolkein charts the writer's formative years, as his creativity, friendships and love affair with Edith Bratt are put to the test by the outbreak of World War I.
As ever, you'll hear plenty of Thomas's music throughout the conversation, as well as examples of Hildur Guðnadóttir & Lasse Enersen's work on one of Dome's previous movies, Tom Of Finland.
After 22 films featuring a legion of heroes and villains, it is the end (of sorts) for the Marvel Cinematic Universe.
Avengers: Endgame is the culmination of an epic undertaking on the part of Marvel Studios, and delivers thrills, laughs, spectacular set pieces and one or two tears.
We've done our best to avoid spoilers, but if you haven't seen Endgame or indeed Infinity War, you might want to wait before diving in to this latest episode of Soundtracking.
As with Infinity War, Endgame directed by Joe and Anthony Russo, with the score provided by Alan Silvestri. And in the fine tradition of the Marvel movies, we've got a rather large bonus at the end of our conversation in the shape of our first interview with the Russo brothers, to save you searching for it on the internet. It really is worth revisiting.
What links Gandhi, Dangerous Liaisons, Groundhog Day, My Name Is Joe, The Fisher King and You've Got Mail?
The answer is composer George Fenton, who scored all of these films as well as a hundred-odd more! He also provided the music for several big budget BBC wildlife documentaries, including as The Trials Of Life and Blue Planet and Planet Earth.
So we are indeed in esteemed company on our latest episode of Soundtracking, the original podcast about screen music.
We caught up with George at his wonderful home on the release of Red Joan, a British spy drama starring Sophie Cookson and Judi Dench. As usual, you'll hear George's work from this and other movies throughout the conversation, as well his experiences of collaborating with Stephen Frears, Terry Gilliam, Ken Loach, Nora Ephron and Sir Richard Attenborough.
Our guest on this week's Soundtracking is not necessarily a name you'll be familiar with. But as a movie fan, you'll certainly know the music he has had a key hand in.
For in his 20 years at Air Studios, Jake Jackson has produced and engineered an extraordinary number of magnificent scores. As well as being Nick Cave and Warren Ellis's go-to guy, he has also worked on Gladiator, Pete's Dragon and Under the Skin among many other well-known films. Indeed, his work has featured on at least 20 episodes of this podcast, which is why we were so keen to get him on.
It's three for the price of one in our latest episode of Soundtracking, as director Tom Harper, writer Nicole Taylor and actress Jessie Buckley join me to discuss their new film, Wild Rose.
Set in Glasgow, Wild Rose tells the story of Rose-Lyne Harlan, a troubled working class mother of two who dreams of becoming a country star in Nashville. With strong support from Julie Walters and Sophie Okonedo, it's a moving, bittersweet affair, that never goes in quite the direction you're expecting. It also features plenty of music - some of which you'll recognise and some of which is totally original.
Indeed, with the help of their music guru Jack Arnold, Nicole and Jessie wrote several of the songs that appear in the movie.
Our latest episode of Soundtracking is another live event, recorded at the British Film Institute in London with writer, director & actor Andy Serkis and musician Nitin Sawhney.
The pair have collaborated on several occasions, most recently on Mowgli: Legend Of The Jungle, Andy's performance capture reimagining of The Jungle Book. It's available to watch now via Netflix, and if you haven't seen it already we highly recommend it. Nitin also provided the score for Breathe - Andy's directorial debut.
As alway's, you'll hear plenty of music from both films during the conversation and plenty more besides.
You wait months for a guest to talk with authority about scary movies, then two come along at once. Following Jordan Peele's fine turn in our previous episode, we're delighted to welcome Eli Roth to the show this time round.
Eli is a writer, director, actor and producer who came to prominence with films such as Cabin Fever and Hostel. While much of his work is not for the faint hearted, his latest project, The House With A Clock In Its Walls, follows the great Spielberg tradition of frightening family fun.
Eli is also an encyclopaedia when it comes to score - to the point at which we couldn't source half of the music he refers to. But no matter: as you'll hear, he delivers quite the lesson nonetheless ...
We haven't featured as much horror as we'd like on Soundtracking, so it really is a great thrill for us to welcome the man of the moment in that particular field, Jordan Peele.
Having forged a hugely successful career as a comedian and actor, Jordan won an Oscar and numerous other accolades for his debut feature, Get Out, which blended traditional genre tropes with social observation to create something altogether fresh.
Now he follows it up with the equally brilliant Us, in which a family is confronted by a group of doppelgängers. Both films were scored by Michael Abels, who had never previously worked on a movie until Jordan came along.
We'll hear plenty of Michael's work, as well as some of the truly brilliant needle drops that are used across the Get Out and Us.
Two extremely talented gentlemen join us for our latest episode of Soundtracking, better known for their work in fields other than cinema.
But in Benjamin, writer / director Simon Amstell and composer James Righton of Klaxons fame have collaborated on a film that is tender, moving and also very funny.
Starring Colin Morgan and Phénix Brossard, Benjamin tells the story of a filmmaker who is forced to confront life's big questions as he embarks on a relationship with a charismatic young musician.
As ever, you'll hear plenty of James' score, as well as an insight into Simon's CD soundtrack collection ...
There is a fine tradition of female singers who have made the successful transition to cinema - from Barbara Streisand and Queen Latifah to Diana Ross and Lady Gaga. And we can certainly include R&B goddess Mary J Blige on that list.
Having sold over 80 million records, Mary has a string of impressive acting credits to her name too. She played Malcom X's widow Dr Betty Shabazz in Betty and Coretta, and was nominated for an Oscar for performance as matriarch Florence Jackson in the deeply moving period drama, Mudbound.
Mary is equally at home at the less-serious end of the entertainment spectrum, as demonstrated by her turns in Rock Of Ages and The Umbrella Academy, which is available now on Netflix.
We should say that we had some terrible static interference on the recording of this interview, which we genuinely think may have been caused by Mary's earrings! We've tried to clean it up as best we can, but do forgive us as and when the quality occasionally dips below our usual high standards …
Head to Itunes and search for our playlist for this episode, to listen to every track that is featured on the show, in the order we play it. Alternatively, cut and paste the following link:
Genius though he is, Martin Scorsese would be the first to admit the enormous debt of gratitude he owes to one Thelma Schoonmaker.
For Thelma is the woman who has edited over 20 of his movies, from Raging Bull and Casino to Gangs Of New York and The Departed. So it's truly an honour to welcome her to Soundtracking, the weekly screen music podcast. As you'd hope, she has some great stories to share with us.
Thelma was married to the late Michael Powell, one half of the legendary partnership Powell and Pressburger. Their work influenced Martin hugely - and indeed it was he who introduced Thelma to her would-be husband.
You'll hear plenty of music from their films, as well as some of the more memorable cues to feature in Martin's back catalogue. There are a few notable clips to enjoy, too ...
If the release of If Beale Street Could Talk gave us a much needed excuse to get Barry Jenkins onto our screen music podcast, Soundtracking, then it also provided the perfect opportunity to invite his composer Nicholas Britell back for a second time.
Nicholas's turn in episode 46 was a delight, illuminating the nuances of his Oscar-nominated score for Moonlight in ways that were quite beyond anything we'd imagined.
His work on Beale Street is equally layered, encapsulating with its mournful strings and wistful horns the old adage that the course of true love never runs smooth. It is, from start to finish, gut-wrenchingly beautiful, and has quite rightly seen him nominated by the Academy again. At the time of recording, we don't know if he landed the gong, but he'd certainly make a worthy winner.
We also discuss his work on Adam McKay's Vice too - a film with a mere 8 Oscar nominations - and Battle Of The Sexes, which was directed by former guests on this show, Valerie Farris and Jonathan Dayton.
It's been the best part of eight years since Joe Cornish released his directorial debut Attack The Block. And in our humble opinion, his follow up The Kid Who Would Be King has been well worth the wait.
That's not to say Joe hasn't been busy, co-writing the Adventures Of Tintin with Edgar Wright, Stephen Spielberg and Peter Jackson, and Ant Man with Edgar and Paul Rudd, among others.
But it's great to have him back at the helm. Based on an idea Joe originally had as a twelve year old, The Kid Who Would Be King tells the story of a young boy who finds King Arthur's legendary sword Excalibur, and must then use it to stop the mythical enchantress Morgana from destroying the world.
The film is scored by Electric Wave Bureau, a collective comprising Damon Albarn, his wife Suzi Winstanley, Michael Smith and Nelson De Freitas, and you'll hear plenty of their work sprinkled throughout the conversation.
There's also music by John Williams, Led Zeppelin, Prefab Sprout and, er, Bucks Fizz ...
We have another polymath for you in the latest episode of Soundtracking - this time in the shape of Australian actor, writer and director Joel Edgerton.
Joel's latest project is Boy Erased - in which he admirably deploys all three of these skills. Based on a memoir by Garrard Conley, the film stars Lucas Hedges, Nicole Kidman, Russell Crowe and Troye Sivan, and tells the story of the son of devout Baptist parents who is forced to take part in a gay conversion therapy program.
Boy Erased is scored by Danny Bensi and Saunder Jurriaans, who also collaborated with Joel on his directorial debut, The Gift. At Joel's behest, it's a nuanced affair, hinting at the darker themes of the movie without ever over-stating them. They also make great use of choral voices.
We should mention that Joel and Edith discuss a key plot detail during the course of the interview, so if you're planning to see the film, you might want to hold fire before listening to this ...
Ever since meeting him prior to the release of Moonlight, Edith has been longing to get Barry Jenkins onto Soundtracking. So it's an absolute pleasure to welcome him along ahead of the UK opening of his latest movie - the magnificent If Beale Street Could Talk.
Based on the novel by James Baldwin, it tells the story of a young African-American woman who seeks to clear the name of her imprisoned lover before the birth of their child.
If Beale Street Could Talk has recieved three Oscar nominations including Best Adapted Screenplay for Barry and Best Original Score for his composer and former guest on this show, Nicholas Britell.
At Barry's request, Nick's score leans heavily on jazz tropes. We also discuss his excellent taste in needle-drops, from Nina Simone to Al Green and Barbara Lewis.
When the opportunity to interview the Canadian writer, director and animator Dean Deblois presented itself, we just had to say yes, even though our schedule is choc-a-block.
For alongside Chris Sanders, Dean is the man behind the How To Train Your Dragon trilogy - a series of films that have brought Edith and her two boys an immense amount of joy. They're also responsible for Lilo And Stich, another big hit in the Bowman household.
The final installment of the trilogy is called Hidden World. Scored by John Powell (with a little help from Jonsi of Icelandic band Sigur Ros), it brings to a conclusion the story of Hiccup the Viking and his dragon, Toothless. The animation is mind-blowing, and beautifully compliments a narrative that's both wildly thrilling and deeply moving.
As always, we'll be interspersing relevant music with the conversation, including the Jonsi tracks that feature on the end credits of the first two films - Sticks & Stones and Where No One Goes.
18 years after he brought us the lo-fi superhero thriller Unbreakable - and a mere 3 since the surprise sequel Split - M Night Shyamalan finally completes his so-called Eastrail 177 trilogy with Glass.
All the key players from the pervious films return, led by Bruce Willis's blue collar vigilante and Samuel L Jackson and James McEvoy's super-villains. Much of the action takes place in the mental institution where the trio are incarcerated and probed by Sarah Paulson's sceptical psychiatrist.
Glass is scored by West Dylan Thordson, who also provided the music for Split. It's an edgy, minimalist affair - with the ambient gloom and agitated strings reminiscent of Ben Salisbury and Geoff Barrow's incredible work on Alex Garland's Annihilation (see episode 85!)
And it's with West's cue Backfire that we begin, as Night reflects upon the history of a trilogy nearly two decades in the making.
We should say that if you haven't seen Split and intend to do so anytime soon, you might want to wait before listening to this, though it wouldn't be the end of the world ...
You may not be familiar with her name, but you will certainly know her films. For Elizabeth Karlsen has produced a whole host of cinematic gems - including The Crying Game, Little Voice, Made In Dagenham, Great Expectations and Carol. And having spoken to her husband Stephen Woolley on this show previously, it's a pleasure to welcome her to Soundtracking, Edith's weekly podcast about screen music.
Indeed, such has their lasting influence been that they are to receive The Outstanding British Contribution To Cinema at the 2019 BAFTA Film Awards.
Elizabeth's latest project is Colette. Staring Keira Knightly and Dominic West, Colette tells the true story of a French woman whose husband exploits her creative talents by persuading her to write under his name. The success of the ensuing series of novels brings them both considerable fame, though she soon becomes frustrated that she cannot take the credit she deserves.
Colette is scored by Thomas Adès, and it is with his title track from the movie that we begin our interview. You'll also hear music from Bronski Beat, Frank Sinatra and Minnie Riperton among others.
We should add that there's a fair bit of choice language in this episode - not least from the mouth of Sir Michael Caine …
Two episodes of Soundtracking in 2019 - two five-star films. Following Yorgos Lanthimos's appearance to discuss his subversive period drama The Favourite, Jon S Baird joins us for our latest show to talk us through the music in his much-vaunted Laurel & Hardy biopic, Stan & Ollie.
Starring Steve Coogan and John C Reilly, Stan & Ollie tells the story of their theatre tour of the British Isles many years after the peak of their fame. By turns funny and moving, it brims with charm, innocence and wit. The central performances are utterly convincing, and beautifully complimented by Shirley Henderson and Nina Arianda as the comedy duo's wives.
Having worked with Clint Mansell on Filth, Jon employed the services of composer Rolfe Kent for the score, whose previous work includes Sideways and Up In The Air - not to mention Dexter. And, as always you'll hear plenty of Rolfe's work sprinkled throughout the conversation, even though his cues from the film have yet to be commercially released.
But where else could we begin that with his take on Dance Of The Cuckoos - the unmistakable Laurel & Hardy theme ...
Our latest episode of Soundtracking couldn't be better timed, what with Olivia Coleman having just landed a Golden Globe for her performance as Queen Anne in The Favourite. If you haven't heard it already, her acceptance speech is particularly amusing - and will most likely be one of several she has to deliver during this awards season.
Telling the story of two ambitious women (played by Rachel Weisz & Emma Stone) competing for Anne's affection, The Favourite is directed by our old friend Yorgos Lanthimos. And we're delighted to say he returns to the show to discuss the sonic intricacies of his brilliant film.
As you may recall if you listened to his previous outing, Yorgos has never hired a composer, preferring instead to source existing compositions. That said, he's most happy to profess extreme gratitude to his sound designer Johnnie Burn - as, in fact, are we. For Johnny not only provided us with a couple of specific cues from the movie, but also pointed us in the direction of a lovely video which reveals how he and his team went about soundscaping the drama.
You can find that video in full at Soundworkscollection.com - though we've dropped a bit of it into our conversation here too.
Happy New Year, one and all, and welcome to this bonus episode of Soundtracking, as we kick off 2019 by celebrating the nominees for the EE Rising Star Award at February's British Academy Film Awards.
Now in its 14th year, the EE Rising Star Award is the only category at the ceremony voted for by the public. Previous winners include Tom Holland, James McAvoy, Eva Green, Tom Hardy, Kristen Stewart, John Boyega and last year’s winner, Daniel Kaluuya
So how are the nominees chosen? Well, a panel of industry experts and enthusiasts gather at BAFTA HQ to discuss potential candidates. And Edith is one of them!
And so to the shortlist, presented in alphabetical order in the time honoured tradition: the nominees are Jessie Buckley, Cynthia Erivo, Barry Keoghan, Lakeith Stanfield & Letitia Wright.
All you have to do to vote online for your favourite is head to ee.co.uk/BAFTA now! The winner will be revealed at the EE British Academy Film Awards at the Royal Albert Hall on Sunday 10th February.
To give you a flavour of the competition, we're delighted to say we're joined by the three female nominees, who reflect upon their careers and genuine passion for music. As you'll hear, all of them can sing for starters ...
Robert Zemeckis is an absolute legend. From Back To The Future to Polar Express and Forrest Gump, he makes the kind of movies you can watch over and over again.
So it's a great honour to welcome him to Soundtracking for our very last show of 2018.
Robert's collaborator-in-chief is composer Alan Silvestri, who has scored every one of his films since Romancing The Stone, which came out in 1984\. And yes, we will be playing the theme from that, as well as a couple of classic tunes from Forrest Gump and plenty more besides.
But we begin with their latest project, Welcome To Marwen. Starring Steve Carrell, it's based on a documentary about artist Mark Hogencamp, who in 2000 was brutally attacked by five men after he told them he was a cross-dresser.
Following nine days in a coma, Mark suffered brain damage that left him little memory of his previous life. By way of therapy, he built a model World War II–era Belgian town in his yard and populated it with dolls representing himself, his friends, and even his attackers.
Mark called the town Merwencol, and this episode begins with Alan's cue of the same name.
54 years after she first lit up the lives of the Banks family - not to mention cinema-goers the world over - everyone's favourite nanny is back.
Mary Poppins Returns sees Emily Blunt in the title role, reunited with the household in the wake of a tragedy three decades after events of the original.
It's directed by Rob Marshall, and we're delighted to say that Rob is our guest on this festive edition of Soundtracking - the weekly podcast about film and television music.
Remaining true to the spirit and tone of the 1964 movie, Mary Poppins Returns is a love letter to London, Walt Disney, animation and, of course, classic silver screen musicals.
The score and songs were composed by Marc Shaiman, with lyrics from fellow Broadway legend Scott Wittman, and we also reflect at length upon the Sherman brothers' classics of the original.
Epic is a word oft-applied to cinema, but rarely can it have been more appropriately used than to describe the work of Peter Jackson and Philippa Boyens. For along with writing partner Fran Walsh, it is they that brought us both the Lord Of The Rings and Hobbit trilogies, not to mention King Kong.
Their latest project is the equally ambitious Mortal Engines, which they wrote and produced. Based on the novel of the same name by Philip Reeve, Mortal Engines is based on the mind-boggling premise that cities of the future have been mounted on wheels and motorised in order that they can hunt and prey upon each other.
The film's score is provided by Tom Holkenborg, also known as Junkie XL, a previous guest on this show. There's plenty of his work to enjoy in this episode, as well of that of Howard Shore, who worked on The Lord Of The Rings & Hobbit movies.
In recent weeks, we've been asking for suggestions for your favourite example of guitar-playing in film with a view to winning a Fender from their new Player Series range.
As you might imagine, we've been inundated - receiving shouts for everything from Morricone to The Blues Brothers and Wayne's World.
For this bonus episode, we invited composer Daniel Pemberton and music supervisor Kle Savidge to judge the winning entries. Hopefully, you'll appreciate the magnificent trio of cues & scores which came out of the hat.
Thanks to Fender for providing guitars from their Player Series range to our competition winners.
It's with a slightly heavy heart that we welcome you to our latest episode, given that the film we're discussing is almost certainly the great Robert Redford's last. That film is The Old Man And The Gun, and the writer / director behind it is David Lowery.
David first appeared on the show in August 2017, where we covered A Ghost Story, Pete's Dragon and Ain't Them Bodies Saints among many other things.
So here the focus is very much on his latest project. Based on a true story, it stars Robert as gentleman bank robber Forest Tucker, Sissy Spacek as the woman he falls for, and Casey Affleck as the rookie cop pursuing him. To a person, the acting is electrifying.
Tom Waits also has a role, which gives us an excuse to play one of our favourite tracks of his, What's He Building?. You'll also hear music by Jackson C. Frank, The Kinks, Scott Walker and Bonnie 'Prince' Billy.
The score, meanwhile, is provided by Daniel Hart, who is David's regular collaborator. At Daniel's suggestion, the pair settled on jazz for the sonic backdrop - and we give you a taster of that too.
If you want a masterclass in how to score an action movie, you've come to the right place. Because in this episode, director Christopher McQuarrie and composer Lorne Balfe talk us through their stellar work on the genuinely brilliant Mission Impossible: Fallout.
As you'll hear, Chris and Lorne are, quite simply, tremendous company. We cover a lot of ground too - from the intricacies of scoring a chase sequence to reworking one of the most famous themes ever.
Indeed, one of the obvious challenges faced by Lorne was how to marry Lalo Schifrin's iconic work on the TV series with Christopher's requirements for his very contemporary take on the franchise. Our opening cue Kashmir is an example of how he did it - featuring as it does Lorne's interpretation of Lalo's classic 'Plot' & 'Mission' themes.
There's also plenty more of the score to enjoy and some great anecdotes about cinematic folklore.
Be warned, while there are no major spoilers, Chris and Lorne do go into the narrative in some detail, so you might wish to wait to listen if you prefer to watch films 'blind'.
Over 100 episodes have passed since writer / director David Mackenzie first joined us on Soundtracking.
On that occasion, we talked about his critically acclaimed thriller, Hell Or High Water, and much of his back catalogue.
He returns to discuss Outlaw King, a passion project about Robert The Bruce which is available to watch now on Netflix.
As well as a score by Tony Doogan (on which David is credited), Outlaw King features plenty of traditional Celtic and ecclesiastical music - which was sourced by music supervisor Jim Sutherland.
You'll hear plenty of both throughout this episode.
We should point out that if you don't know the story of Robert The Bruce, David goes into it at length during this conversation, which obviously provides much of the narrative content for his movie.
Our latest episode of Soundtracking comes off the back of a very special day Edith spent at Abbey Road Studios in London as the score for JK Rowling's Fantastic Beasts: The Crimes Of Gindelwald was being recorded.
She was there as the guest of director David Yates and producer David Heyman, both of whom join us this week to discuss what she heard and saw - and how James Newton Howard's stunning compositions compliment the action on screen.
It's their second appearance each, having been on by themselves before, so do check out both those episodes once you're done with this one.
Our latest episode of Soundtracking in association with the White Company marks the first appearance for a man Edith has long admired.
Steve McQueen is a British writer, director and producer. who had critical big-screen success with Hunger and Shame before scooping an Academy Award for 12 Years A Slave.
His latest project is the ensemble heist thriller Widows. Based on the 1983 ITV series of the same name, The plot follows a group of women who attempt a heist in order to pay back a crime boss after their ne'er-do-well husbands are killed on a botched job.
It's scored by Hans Zimmer, and also features a sumptuous Nina Simone track and brand new material by Sade, which is always cause for celebration.
We also discuss David Bowie, Liza Minnelli, Glenn Gould and much more besides.
Our latest episode of Soundtracking in association with The White Company sees a return for a third time of two of our faves.
Writer / director Ben Wheatley's made his debut on our very first show, while composer Clint Mansell walked us through his back catalogue in our 52nd outing - including his magnificent work on Ben's adaptation of the JG Ballard novel, High Rise.
Ben then returned to talk about the jazz-funk score for Free Fire, with Clint joining Duncan Jones in Los Angeles to discuss Duncan's future-noir thriller, Mute. That conversation was an awful lot of fun - and well worth checking out if you haven't already.
Now, at last, we've managed to get Ben and Clint in the same room to tell all about their latest collaboration, Happy New Year, Colin Burstead.
Very loosely based on the Shakespeare play, Coriolanus, it tells the story of Colin, who hires a lavish country manor for his extended family to celebrate New Year. But as we all know, family gatherings over the festive season rarely pass without one or two cataclysmic moments, and Colin's wee party is no exception ...
It's another Soundtracking Live this week - this time recorded a month or so back at Festival No 6 in the weird and wonderful village of Portmerion, north Wales.
Our guest that day was a novelist, playwright and occasional director of shorts, who well and truly thrust himself into the pop cultural consciousness with Trainspotting, and Danny Boyle's subsequent film adaptation of the same name.
We are, of course, talking about Irvine Welsh.
Irvine was on fine form - discussing everything from his unlikely love of musicals and rom coms to the directors and composers who've inspired him as both a writer and a great fan of cinema. It all seemed to go down well with a packed audience, which made a very long round-trip more than worthwhile.
Expect music from from Oliver, Boogie Nights, Pulp Fiction and more ...
Our latest episode of Soundtracking sees a return for the supremely entertaining writer, director and producer Sacha Gervasi, who joined us a couple of months back to discuss his career to date. We held some of that interview back to coincide with the realease of his latest movie, My Dinner with Hervé.
Starring Peter Dinklage and Jamie Dornan, My Dinner With Hervé recounts the later days of actor Hervé Villechaize, best known for his roles in smash TV show Fantasy Island and The Man With The Golden Gun, in which he played Nick Nack. As you'll hear, it's a deeply personal endeavour for Sacha, who, almost by chance, got to know Hervé well shortly before he commited suicide.
Given My Dinner With Hervé was 25 years in the making, Sacha talks at length about his own relationship with Herve and why he felt he owed it to him to get project off the ground. We think it's a tale worth telling. So, before we get to the music, we're going to share this incredible backstory with you, interspersed with extracts from composer David Norland's score.
Since last joining us on Soundtracking, it’s fair to say Damien Chazelle has done alright for himself - becoming the youngest ever winner in the Best Director category at the Oscars for La La Land.
His latest offering is First Man. Starring Ryan Gosling and Claire Foy, the narrative explores the years leading up to and including the 1969 Apollo 11 Mission to the moon, with the focus very much on the emotional challenges faced by Neil Armstrong and his family.
It's another giant leap for Damien, who seems pathologically incapable of making a bad movie. We discussed Whiplash and La La Land at length during our first conversation, so the focus is very much on how he and composer Justin Hurwitz went about creating a soundscape to transcend earth and space for this project.
As if it weren't enough writing, producing, directing and starring in a movie, you'd surely have the right to feel pretty smug if said movie got rave reviews across the board too.
Well, that's exactly what's happened with Bradley Cooper and A Star Is Born - though he was anything but smug when he joined Edith to discuss his achievements in our latest episode of Soundtracking. If anything, one gets the impression he's genuinely stunned and humbled by how well his work has been received.
A remake of the 1937 film of the same name, it stars Bradly and Stefani Germanotta (better known as Lady Gaga), and follows a hard-drinking musician who discovers and falls in love with a young singer.
It marks the third remake of the 1937 original, which was adapted into a 1954 musical starring Judy Garland and James Mason and then remade as a 1976 rock musical with Barbra Streisand and Kris Kristofferson.
And, just as Lady G proves to quite the actor, so it turns out Bradley has a really rather unexpectedly brilliant singing voice …
We very much like welcoming musicians to Soundtracking, so we were incredibly excited to learn about a documentary on the life of superstar Sri Lankan / British rapper M.I.A. - not least because Edith has been a huge fan since her days at BBC Radio 1.
Matangi/Maya/M.I.A. was directed by her longtime friend Steve Loveridge, and follows 22 years in her life - including her rise to fame and her perspective on the controversies sparked over her music, public appearances and political activism. It has been incredibly well-received, and won a special jury award at this year's Sundance Film Festival.
Obviously, you'll hear plenty of M.I.A.'s work throughout the conversation, and also find out about some her musical and cinematic influences.
The latest episode of Soundtracking finds us out and about once more, this time at the British Film Institute on London's South Bank.
And it's a truly stellar cast.
Director Lenny Abrahamson, composer Stephen Rennicks, editor Nathan Nugent and producer Gail Egan joined Edith in front of an audience to discuss the music of their latest film, The Little Stranger.
Based on the novel of the same name by Sarah Waters, the plot follows a doctor who visits an old house his mother used to work at, only to discover it may hold a dark secret.
As you'll hear, there's a bit more talking and a bit less music than we usually serve up, but what the gang has to say makes for essential listening if you have even the the remotest interest in film-making.
Now one of the reasons it was such a joy speaking to Lenny, Stephen, Nathan and Gail is that they brought along all sorts of exclusive clips to share with us, including alternative beginnings and rough cuts from The Little Stranger.
Obviously you won't be able to see these clips, but we've included the audio anyway to give you a sense of how much thought the team puts into every single frame. The guys also set up each clip in detail to give you a sense of what's going on.
Hopefully, your imagination will do the rest.
Our latest edition of Soundtracking features British writer / director Bart Layton.
Bart won widespread critical acclaim for his debut The Imposter, a documentary about the case of the French conman Frédéric Bourdin, who impersonated a Texas boy who disappeared at the age of 13 in 1994.
His new film is also inspired by an extraordinary true story about a group of ordinary everyday guys who plan to steal the most expensive book in America. Unlike The Imposter, though, it's predominantly a work of 'based on real events' fiction, with great performances by all of the actors in the central roles.
It also features a banging soundtrack and excellent score by Anne Nikitin.
Our latest guest on Soundtracking is a composer who cut his teeth as a founder member of Tindersticks, with whom he wrote orchestral arrangements, recorded numerous albums and toured worldwide.
Dickon Hinchliffe then turned his hand to scoring films when French director Claire Denis asked the band to write the music for her film Nénette et Boni.
Dickon hasn't looked back since, providing the sonic backdrop to films as diverse as Winter's Bone, Project Nim and Leave No Trace.
His latest project is Idris Elba's directorial debut, Yardie, which required compositions that complimented not only the narrative but also the fabulous soundtrack.
Our latest guest may be German, but he's clearly something of an Anglophile, having made a Bond film, the Peter Pan inspired Finding Neverland, and now a new take on the British cultural institution that is Winnie The Pooh.
Perhaps most importantly, Marc Forster is a total audiophile too!
Marc's Christopher Robin is a delightful live-action addition to the Disney franchise, with Ewan McGregor in the leading role and Jim Cummings, Toby Jones and Sophie Okonedo among those providing the animal voices.
It also features 3 original tunes by Richard Sherman, the legendary Disney songwriter.
Christopher Robin is dedicated to composer Jóhann Jóhannsson, who had already started scoring the film when he passed away so unexpectedly at the age of 48\. So, at the eleventh hour, Jon Brion and Geoff Zanelli stepped in. You'll hear plenty of their exceptional work throughout the conversation, as well as tracks by Spoon, Muse, Chris Cornell, Wreckless Eric and more.
Providing a sequel for one of the highest grossing and most loved live-action musicals of all-time is a terrifying challenge by any reckoning, so we think you might be surprised how humble and down to earth the man that was charged with doing so is.
Ol Parker wrote and directed Mamma Mia! Here We Go Again, and has done a fine job too. As well as managing an all-star cast including Pierce Brosnan, Colin Firth and Cher, he also had the not insignificant problem of melding all those iconic songs with the wonderful Anne Dudley's score. Thankfully, Benny and Bjorn from ABBA were on hand to help …
The reason we're coming to you a little later than normal is because Anne and Mamma Mia music supervisor Becky Bentham have been moving heaven and earth to provide us with exclusive cues from the film. So as well as plenty of sing-along classics, you'll be hearing Anne's score too.
Our latest guest is another of those 'annoying' multi-talented sorts, who's written, directed and produced a whole host of movies to widespread acclaim.
Sacha Gervasi's first film was The Big Tease, which he co-wrote with Craig Ferguson. He went on to pen The Terminal, made into a film directed by Steven Spielberg and starring Tom Hanks. That's some feat.
He also directed the brilliant rockumentary Anvil, which tells the deeply personal story of a heavy metal band who've been plugging away for 30 years.
And it's with Anvil that we began. If you're unfamiliar with their work, it's pure Spinal Tap, only real …
And so to episode 101 of Soundtracking, the weekly podcast about screen music. And we're delighted to say the person who joins us for the first step of our journey towards 200 is the multi-talented Paddy Considine.
As well as starring in a wide variety of critical & commercial successes, Paddy wrote and directed the award-winning Tyrannosaur, and also fronts his own band, Riding The Low.
Now he brings us Journeyman. Scored by Harry Escott and featuring music by Nick Cave and Guided By Voices, Journeyman tells the story of a boxer who survives a coma following a brutal fight - with devastating consequences for both himself and his loved ones.
It really is an incredibly powerful and moving drama - with knockout performances by Paddy and Jodie Whittaker in the lead roles. Not that the process of bringing it the screen was easy - as you'll hear during the course of a remarkably candid conversation.
Back in 2016, we had the idea of making a podcast dedicated to screen music. We had no clue whether we'd get the guests, whether they'd have anything to say, whether it'd get repetitive - or even whether you'd listen.
Roll forward 2 years, and here we are at Soundtracking celebrating our 100th episode.
It's a milestone we're incredibly proud to have reached, and to mark the occasion we've compiled a selection of our favourite moments from our first hundred episodes. The diversity of what you'll hear shows what infinite variety there is to the fine art of film and teleivision music - which is exactly why you won't be getting rid of us just yet.
Among those featured in this Who's Who of showbusiness are Jon Favreau, Nicolas Winding Refn, Ron Howard, Edgar Wright, Danny Boyle, Sofia Coppola, Justin Hurwitz, Greta Gerwig, Duncan Jones and Clint Mansell.
It's a slightly different edition of Soundtracking this week, as we bring you another of our live events, this time recorded at the Moët Summer House weekend in London in June.
Edith's guest was the brilliant playwright and screenwriter Abi Morgan, whose work includes movies Iron Lady and Shame and TV dramas The Hour, River and The Split.
We're bringing this one to you in two parts, because as well as talking about music, we also spoke at length about her craft. And while it doesn't quite fit with our usual brief, we thought we should share what Abi had to say about that too, as she provides great insights into the process of writing for the screen.
It's a very special episode of Soundtracking for Edith this week, as we welcome first-time director Drew Pearce to the show.
Edith and Drew have known each other for nearly 20 years, during which time he's co-written Iron Man 3 and provided the story for Mission Impossible: Rogue Nation
His debut feature as a director is Hotel Artemis, which is set in the near future and tells the story of a nurse who runs a hospital for criminals. Despite being new to the directing game, Drew has assembled a quite incredible cast - headed up by Jodie Foster in her first major acting role for 5 years. Jeff Goldblum, Sofia Boutella and Sterling K Brown are among those providing support.
He also managed to persuade composer Cliff Martinez to score the movie, and we get plenty of insights into how the great man operates.
Not for the first time on this show we're joined by Pixar royalty, which is, frankly, a joy.
Following Edith's chat about Coco with Lee Unkrich & Darla Anderson back in episode 75, we're delighted to welcome writer, director, animator, voice-actor & double Oscar winner Brad Bird - who has just served up another masterclass in movie-making with Incredibles 2.
Like Coco, Incredibles 2 is scored by Michael Giacchino, who also worked with Brad on the first film. We also talk about Iron Giant, find out about his introduction to Disney, and discover some of his favourite scores.
Our guest this week is an Oscar winning Scottish director, equally at home in the realms of fact and fiction.
Kevin Macdonald won his academy award for One Day in September, but has also won widespread critical acclaim for films such as Marley, The Last King Of Scotland, How I Live Now and State Of Play. He's collaborated with some tremendous composers along the way, including Jon Hopkins and Alex Heffes - of which more later.
But we begin with his latest project Whitney, a gut-wrenching documentary about the ill-fated singer, featuring candid interviews with those closest to her, as well as plenty of her music.
We also hope it provides aspiring filmmakers with a fascinating insight into his processes.
We know we bang on about it here on Soundracking, but it really is hard to get women on the programme, such is the male dominance of the industry. But every now and again, our efforts succeed, in this case with the suprememly talented writer/ director, Clio Barnard.
Clio's latest film is Dark River. Starring Ruth Wilson, Mark Stanley, and Sean Bean, it tells the story of a woman who returns home after a 15 year absence in order to claim the tenancy of her father's farm.
Boasting a new song by PJ Harvey, Dark River is scored by Harry Escott, who has worked with Clio on all three of her features, starting with her debut Arbor.
We should say that this episode features a MAJOR SPOILER relating to her second movie, The Selfish Giant.
It's been a year that's seen one or two massive cinematic events, but you can always count on dinosaurs to make a few very loud noises too.
Already the 7th highest grossing film of 2018, Jurassic World: Fallen Kingdom is the work of Spanish director JA Bayona, who returns to Soundtracking for a second sitting. You can, of course, listen to our previous conversation with Signor Bayona via edithbowman.com.
Scored by Michael Giacchino, Fallen Kingdom is part adventure story, part haunted house thriller, with the two elements posing very different challenges for both director & composer. Then, of course, there was John Williams' classic Jurassic Park theme to consider. For reasons we'll discover, JA and Michael deployed it sparingly, though it does feature in familiar form at the very end of the film ...
You can't describe yourself as a podcast about film music without talking to the occasional composer. And we've be joined by a fair few of the best - from Clint Mansell, Justin Hurwitz and Nicholas Brittell to Geoff Barrow, Ben Salisbury and Philip Selway.
Without exception, each has cast the projects they've been involved with in a new light and given us exclusive insights into the subtleties of their craft.
So we're delighted to finally bring you Daniel Pemberton, in a piece recorded a few months back in his London studio.
Daniel is hot property right now. Having worked with Ridley Scott, Guy Ritchie, Danny Boyle and Aaron Sorkin, he's now provided the score for Ocean's 8, which is out around the globe already but in the UK on Monday 18th June. We'll hear examples of his compositions for all these world-class directors throughout the conversation, as well as some cracking stories.
As if we needed an excuse to invite Ron Howard back to Soundtracking, the fact he's directed the latest installment in the Star Wars franchise is a pretty good one.
Solo: A Stars Wars Story speaks for itself, telling the backstory of one of cinema's most lovable rogues. And as with all the movies, music plays an integral part - as central to the experience as the narrative, characterisation and special effects.
In this instance, John Powell provided a score which takes things in a new sonic direction. Nevertheless, he had the blessing of John Williams, who also composed a brand new theme for Han ...
We all know Hugh Grant, from his floppy haired romantic performances, dad dancing down the stairs at No 10 Downing Street and most recently high kicking his was in pink prison Lycra in Paddington 2\.
There is much more than meets the eye with Hugh, particularly when it comes to music and specifically in projects he’s involved in as a producer. He very clearly appreciates and understands the power of music, both for him as an actor but also in how it should be carefully crafted into a film.
Currently starring in the BBC Drama A Very English Scandal as the British Liberal Party leader, Jeremy Thorpe, who in 1979 was accused of the attempted murder of his gay ex-lover. It is directed by the award winning Stephen Frears and written by the fabulous Russell T Davis who brought on board his regular collaborator, composer Murray Gold. In this episode you will hear Murrays work for the show along with some familiar pieces of music from Hughs back catalogue. Not least the memorable work done by Badly Drawn Boy for About A Boy.
Our latest guest is a giant of British comedy, whose unerring originality, wit and satirical brilliance have long since earned him global recognition.
Armando Iannucci's CV is enviable, with credits including The Day Today, Alan Partridge, The Thick Of It, In The Loop and Veep (for which he won two Emmys).
His latest project is The Death Of Stalin, a so-called comedy of terrors about the power struggles which followed the passing of the eponymous dictator in 1953\. The film is available on home entertainment formats now, and we strongly recommend you check it out if you haven't already.
Musically, The Death Of Stalin allowed Armando to indulge his passion for classical music, with the likes of Shostakovich providing sonic inspiration for Christopher Willis's excellent score.
You'll hear plenty of extracts from that, as well as the actual recording of a Mozart piano concerto that may very well have been a matter of life and death.
Our latest episode of Soundtracking is a celebration of all things 007, following an event recorded at the London Film Museum with David Arnold and Don Black.
The pair have Bond in their blood. Don has provided lyrics for some of the most memorable title tunes, while David has scored 5 of the movies - including The World Is Not Enough, Tomorrow Never Dies and Casino Royale. You'll hear plenty of examples of their work, alongside that of the great John Barry, whose themes and score is so inextricably linked to the success of the franchise.
We should say that due to circumstances beyond our control, the sound is pretty poor in places, so many apologies for that. But the music, of course, is of the very highest quality ...
In what is surely one of the biggest cinematic events of all time, let alone the year, Avengers: Infinity War hit screens around the globe last week, breaking records galore and garnering widespread critical acclaim to boot.
So it's with great excitement that we welcome the directors Anthony and Joe Russo to Soundtracking.
Boasting a stellar ensemble cast, Infinity War sees numerous characters from the Marvel Universe join forces to prevent intergalactic despot Thanos from destroying, well, everything.
Don't worry, though, there are no further spoilers here, not least because Edith was only allowed to see 20 minutes of the film at the time of recording the interview.
What we do have for you is Anthony and Joe talking about Alan Silvestri's score, their love of needle-drop, Henry Jackman's work on Captain America, the genius that is Mark Mothersbaugh, David Schwartz's screwball approach to the music in Arrested Development and reflections upon Community, which saw the brothers collaborate with Ludwig Göransson.
Without wishing to sound sycophantic, it's hard to imagine a more humble talent that Garth Jennings.
During this episode, he and Edith discuss many of his extraordinary creative endeavours - though on hearing the conversation you'd be forgiven for thinking he'd had next to nothing to do with any of them at all.
Don't be fooled.
Having founded production company Hammer & Tongs with Dominic Leung and Nick Goldsmith in 1993, Garth has been instrumental in a string of iconic music videos and also written and directed Hitchhikers Guide To The Galaxy, Son of Rambow and most recently Sing.
Oh yes, he's penned a children's book too.
Expect music from composer Joby Talbot, Blur, Fatboy Slim, Betty Wright and more.
It's been a while since we had any acting talent on the show, so it gives us great pleasure to welcome the wonderful John Simm to Soundtracking.
John has appeared in many great productions on stage and screen. He is perhaps best known for his roles in Life on Mars as Sam Tyler and Doctor Who as The Master, with recent appearances in Collateral on the BBC and Trauma on ITV.
His films include Wonderland, Human Traffic, and 24 Hour Party People - and we'll obviously be featuring tracks from all of these projects throughout the conversation. He's also an accomplished musician, with plenty more about his exploits on that front featuring too.
It's another very special Soundtracking this week as we take you to the Everyman Cinema in Hampstead, where director Alex Garland and his composers Geoff Barrow and Ben Salisbury came together for a Q&A following an exclusive screening of Annihilation.
As you may know, the film hasn't had a cinematic release outside the US. You can, however, watch Annihilation on Netflix, and it's well worth your time if you haven't seen it already. Unusually for us, there a couple of spoilers in this episode too, which is all the more reason to check the movie out.
Before Alex joined everyone on stage, Edith caught up with Geoff and Ben in the bar to discuss their other work, specifically on Ex Machina and Ben Wheatley's Free Fire.
Their first score together was for Dredd. At least, it would have been had the studio not decided it wasn't suitable for the film. Thankfully, they shared their efforts anyway under the guise of Drokk. And it's with a spot of Drokk that we began - which basically means you're in for a real treat.
This week's episode has been a long-time coming. We reckon Edith spoke to director Todd Haynes just before Christmas - after his latest film Wonderstruck received a 3 minute standing ovation at last year's Cannes film festival - and we've been desperate to share our chat ever since.
Well, the moment has come, as Wonderstruck finally gets an official UK release - though you may already have been lucky enough to see it on Amazon.
Based on the bestselling novel by Brian Selznick, who also wrote the screenplay, Wonderstruck intertwines two stories set 50 years apart about children Rose and Ben, both of whom are on quests to find their parents. In a novel twist, Rose's story plays out as a black and white silent movie, which presented various challenges for composer Carter Burwell.
As well of plenty of examples of Carter's score, you'll also hear music from Thom Yorke, David Bowie, Bob Dylan, Billie Holiday and more.
Before Lynne Ramsay, there was composer Lorne Balfe. For Lorne was the very first guest on Soundtracking Live, as part of the British Film Institute's Big Thrill Season back in November.
We then went on to speak to Lynne at the Glasgow Film Festival, with Alex Garland, Geoff Barrow and Ben Salisbury to come soon following a great chat we had after a special screening of Annihilation at the Everyman cinema in Hampstead, London.
The list of films Lorne has worked upon is mighty impressive, from Dunkirk and The Lego Batman Movie to Ghost In The Shell and Geostorm. He's also produced excellent work for television, with Genius and The Crown among his credits.
Almost by definition, anyone who listens to this show will have been deeply saddened by the recent death of composer Jóhann Jóhannsson. Well, the moment has come for us to pay our little tribute, as we talk to director Garth Davis about Mary Magdalene, the last film Jóhann worked on.
In this episode, Garth discusses Mary, his previous film Lion, and of course Jóhann, who teamed up with fellow Icelander Hildur Guðnadóttir for his final score.
On another note, if you're an EE customer, we have some exciting news for you, as EE are offering 2 free tickets to see Call Me By Your Name at selected Vue and Odeon cinemas across the UK.
The screening is taking place on the 26th March as part of the Our Screen initiative – with each customer getting 2 tickets using the code: EEBAFTA2018\. You can choose your cinema and get tickets a ourscreen.com/eebafta.
Having brought you Lynne Ramsay in conversation from the Glasgow Film Festival in our previous episode, we're on location once again here on Soundtracking in partnership with the EE BAFTAs, this time at London's world-famous AIR studios.
For that's where Edith caught up with Junkie XL - aka Tom Holkenborg - on the day he recorded the string parts of his score for Tomb Raider.
Tomb Raider is directed by Norwegian Roar Uthaug, and we're delighted to say Edith caught up with him separately to discuss what he asked of his composer, the tone he wanted for the film and K.Flay's excellent end credit track, Run For Your Life. There's also a sonic treat for old-skool gamers before we're done too.
But where else could we begin than with Tom in the control room at AIR …
Something slightly different on Soundtracking in partnership with the EE BAFTAs this week, as we bring you an edited version of Soundtracking Live with Lynne Ramsay at the Glasgow Film Festival.
Lynne is one of Edith's favourite directors, so it really was an honour to welcome her on stage in front of a very appreciative live audience.
Her latest film You Were Never Really Here has garnered 5 star review after 5 star review. It stars Joaquin Phoenix and is scored by Radiohead's Jonny Greenwood.
We'll hear plenty of Jonny's work throughout the course of the conversation, as well as cues from We Need To Talk About Kevin, Movern Caller and Ratcatcher
We have a treat for you on this week's episode of Soundtracking in partnership with the EE BAFTAs, as Duncan and Clint join Edith from LA
If not a match made in heaven, then it was certainly a match made on Moon. For that was their first collaboration. Such was the success of that film it seemed inevitable the pair would re-unite - and so it is they us to discuss their latest project together - the Netflix Original film, Mute.
Co-written and directed by Duncan, Mute tells the story of a mute bartender searching for his girlfriend, who mysteriously disappears in a near-future Berlin. It was an incredibly personal film for him, given the time he spent in the city with his father, David Bowie, during the 1970s.
During the interview, we discuss the thoughts and processes behind Clint's score, Duncan's needle-drops and the more general sonic tone he was aiming for. We also explore Moon in detail too.
We're not gonna lie, Greta Gerwig is one of Edith's favourite actors, so all objectivity has gone out of the window during this week's episode of Soundtracking in partnership with the EE BAFTAs.
In fairness, everyone seems to agree her directorial debut Lady Bird (which she also wrote) is a triumph. Starring Saoirse Ronan, Laurie Metcalf and Timothee Chalomet, it charts the turbulent relationship of the eponymous teenager and her mother - with the narrative by turns irreverent, hilarious, brutally honest and deeply moving.
The score is provided by Jon Brion, who has that uncanny ability to blend traditional orchestration with a tone that's modern and offbeat.
The soundtrack, meanwhile, is an absolute gem, featuring the likes of The Monkees, John Cale, Justin Timberlake and Reel Big Fish. While it would have been tempting to include super-cool records - for want of a better expression - Greta instead went for songs that her characters would have been listening to at the turn of the Millennium.
As anyone who's paid attention to Edith talking film over the years knows, she's a big fan of how Marvel Studios have transposed their comic book universe to the big screen. So it gives us great pleasure here at Soundtracking in partnership with the EE BAFTAs to report that the latest addition to the canon, Black Panther, is a rip-roaring success.
And it gives us even greater pleasure to welcome writer / director Ryan Coogler and Executive Producer Nate Moore to the programme.
You'd have to go a long way to find a more suitable movie for us to discuss.
For starters, there's the accompanying album, 'Black Panther: Music From And Inspired By ...', which was masterminded by Kendrick Lamar and features the likes of Anderson Paak, James Blake, SZA and Vince Staples.
Then there's the wildly inventive and original score courtesy of Ryan's friend and longtime collaborator, Ludwig Göransson, who also worked with him on Fruitvale Station and Creed. It was a real labour of love for Ludwig, who spent a considerable amount of time in Africa working with local musicians to capture authentic instrumentation, tone and rhythm.
And as you'll hear, it was time very well spent ...
Another week, another Oscar winner chats to Soundtracking in partnership with the EE BAFTAs.
These days, the quality and quantity of original programming on streaming services is quite astounding - with A-list talent delivering high-class drama time and time again.
One of Netflix's standout series of 2017 was Mindhunter. Overseen by David Fincher, it tells the story of how the FBI's profiling unit came into being in the 1970s. By turns dark, funny, moving, cool and brutal, it also makes great use of contemporary pop & rock.
So it's with great pleasure that we welcome Asif Kapadia to the show, who directed two episodes of the first season.
Asif has won numerous awards for The Warrior, Senna and Amy, with the latter scooping the Oscar for Best Documentary. There will, of course, be plenty of examples of Amy Winehouse's music throughout the course of the conversation, as well as composer Antonio Pinto's work on both Amy and Senna.
We have more exponents of world-class animation in our latest episode of Soundtracking in partnership with the EE BAFTAs, this time from Disney Pixar.
Having just spoken to Nick Park, we're delighted to be joined by two key figures from the studios - writer / director Lee Unkrich and producer Darla Anderson.
Having previously joined forces for Toy Story 3, Lee and Darla's latest project is the wonderful Coco.
Coco follows 12-year old Mexican, Miguel, a would-be musician who is accidentally transported to the land of the dead, where he seeks the help of his great-great grandfather to return to his family in the land of the living.
Like so many of Pixar's previous offerings, it has gone down a storm with both critics and audiences - with a 97 per cent approval rating on Rotten Tomatoes and gross worldwide takings of $700 million to date.
Music is central to the narrative. As well as original compositions performed by the characters, there's a rich score from Pixar stalwart Michael Giacchino. You'll hear plenty of Michael's work throughout the conversation, not to mention pieces by Thomas Newman, Randy Newman and more.