Soundtracking with Edith Bowman

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.Enjoy!

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 LAIf 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.

Edith's latest episode of Soundtracking in partnership with the EE BAFTAs is with a man who's won a fair few in his time: the one and only Nick Park.As well as national treasures Wallace and Gromit, he and Aardman Animations have also brought us Creature Comforts, Shaun The Sheep, Chicken Run and now full-length feature Early Man.Starring Eddie Redmayne, Masie Williams, Tom Hiddlestone and Timothy Spall among many other great actors, Early Man is a prehistoric underdog yarn fizzing with all the wit and charm we so associate with Nick's previous offerings. The score arrives courtesy of Harry Gregson-Williams and Tom Howe, and there are also contemporary source cues by Kaiser Chiefs, New Hope Club and The Vamps. Don't forget, we're also encouraging you to vote for the EE Rising Star award at the 2018 BAFTAs, so head to ee.co.uk/bafta to do just that ...

Despite being a thoroughly humble and unassuming sort, Joe Wright has led quite the life. From drinking in the pub as a youngster with Kathy Burke to creating live visuals for The Chemical Brothers, he's long held ties to key players in British culture. Not that he's become a director of great repute on anything other than merit - as evidenced by his latest movie, Darkest Hour. Telling the story of Winston Churchill's early days as Prime Minister during World War II, Darkest Hour revolves around an extraordinary central performance from Gary Oldman, which has already landed him a Golden Globe. But the brilliance of this film is about so much more than that - thanks in no small part to Joe's all-encompassing vision. Darkest Hour is up for a whopping nine awards at the EE BAFTAs. As well as Gary's inevitable nomination, these include Best Film and, appropriately enough for our purposes, Best Music for Dario Marianelli. On Joe's instruction, Dario's score was inspired by the modernist movement of the 50s and 60s, and specifically a more recent work called Hammers by contemporary German composer Nils Frahm.

In a very special bumper edition of Soundtracking, Edith is joined by all five of the nominees for the EE BAFTA Rising Star award.They are, in no particular order, Daniel Kaluuya, Florence Pugh, Timothée Chalamet, Tessa Thompson and Josh O'Connor.As well as getting to know about them as actors and individuals, we'll also be interspersing score and source music from their films in the usual way, and finding out about their diverse sonic tastes.Accordingly, you'll hear music by Giggs, Frank Ocean, Keaton Henson, Alt-J, Psychedelic Furs, Sufjan Stevens, Talking Heads, Korn, Max Richter and many more.This award is voted for by the public, so head to ee.co.uk/bafta to get involved.

With his first two films In Bruges and Seven Psychopaths, Martin McDonagh made the transition from world famous playwright to high-class filmmaker seem deceptively straightforward.Such a shift is anything but, of course. But he continues the trend with his latest offering - the jet black comedy drama Three Billboards Outside Ebbing, Missourti.Hotly tipped for success this coming awards season, it tells the story of a woman in the eponymous town who lays down a challenge to local police to take greater action over the unsolved murder of her daughter. Among its many delights are barnstorming central performances from Frances McDormand, Sam Rockwell and Woody Harrelson.Three Billboards is scored by Carter Burwell, who has collaborated on all three of his feature films. Their partnership is a dream come true for Martin, who fell in love with his work on the Coen brothers' Blood Simple as a teenager ...

We are very excited here at Soundtracking that we have teamed up with EE, the headline sponsor of the EE British Academy Film Awards, to create a series of special podcasts over the next few months. In that time, we will explore the minds and experiences of BAFTA talent and we start the partnership this week with past EE Rising Star Award winner, Will Poulter. For one so young, Will has already built up a mighty impressive CV. Having made his breakthrough in Son Of Rambow back in 2007, the 24-year-old has since had significant roles in Maze Runner, We're The Millers, War Machine and The Revenant. His most recent outing was in Detroit, in which he plays a racist and sadistic police officer involved in a shocking case of brutality during the city's 1967 race riots. It's a performance of stunning depth and maturity - and one that may yet see him nominated for an Oscar.All of these films are interesting from a musical perspective too - from the 80s Rambow soundtrack to Cave / Ellis vehicle War Machine and The Revenant, which was score by Ryuicho Sakomoto, Alva Noto and Bryce Dessner from The National. We'll also hear music from The Cure, Ben E King, Tracy Chapman and Toto.

It's hard to think of a more iconic set of musical themes than those so thrillingly imagined by John Williams for Star Wars: A New Hope. 40 years on and that score still sounds as exhilarating as ever.Much then to discuss with Rian Johnson, the man who has written and directed the latest installment of the space opera, Star Wars: The Last Jedi.Up until this point, Rian has employed the services of his cousin Nathan to score his movies. And as we'll hear, he's done a fine job, from the DIY noir of Brick to the rich orchestration in The Brothers Bloom and layered synths of Looper.But when it came to the Star Wars: Last Jedi it could only be John, who delivered a suite retaining all the classic themes that we so associate with the saga while having very much its own identity ...

We don't just speak to directors, composers and producers on this show; actors are welcome too. And in Cillian Murphy, we not only have a man at the top of his game but also a genuine enthusiast for the sonic arts.Cillian has shone in a hugely diverse range of films, from blockbusters Dunkirk and The Dark Knight trilogy to indie flicks Disco Pigs and Breakfast on Pluto. He can currently be seen in BBC gangster epic Peaky Blinders, back for a fourth season having garnered an enormous fan-base and widespread critical acclaim.If you haven't seen Peaky, one has to wonder what you've been doing with your time. In a nutshell, Cillian stars as Tommy, the leader of the eponymous gang who are fighting for underworld supremacy in post World War I Birmingham. Among the show's many delights is the use of contemporary music as a counterpoise to the narrative, from Nick Cave and Warren Ellis (whose track Martha's Dream is playing now) to PJ Harvey, Savages, David Bowie and The White Stripes.You'll hear examples of all of these artists throughout the conversation - starting with Mr Cave and his Red Right Hand - a track that has become synonymous with the show ...

We've already spoken to one legendary British producer on this show in the shape of Stephen Woolley. Now it's the turn of David Heyman.Like Stephen, David's CV is enviable. As well as producing all the of Harry Potter films and spin-off Fantastic Beasts, he's also the man behind The Light Between Oceans, Testament Of Youth and Gravity among many, many other celebrated movies. And as we'll discover, music very much falls under his remit.The list of composers David has worked with is mighty impressive, from John Williams and James Newton Howard to Steven Price, Max Richter and Dario Marianelli, who scored his latest project, the delightful Paddington 2. Perhaps surprisingly, David loves hip-hop, which informed his first movie as a producer, Juice, the 1992 thriller starring late rapper Tupac Shakur. And given that we kick off by playing tracks and a clip from the film, we should warn you that there's inevitably a fair bit of choice language in this episode ...

For the first time in 66 episodes, disaster struck as Edith's original interview with Val and Jon was corrupted.Thankfully, this delightful wife & husband team agreed to do it all over again 24 hours later and boy are we glad they did - so fantastic was their company on both occasions.Val and Jon cut their teeth making music videos, working with the likes of Jane's Addiction, The Red Hot Chilli Peppers and Smashing Pumpkins.They moved into feature films with the wonderful Little Miss Sunshine, which was scored by Davotchka and Mychael Danna and showcased tunes by Sufjan Stevens and Rick James.Their latest offering is Battle Of The Sexes. Starring Emma Stone and Steve Carrell, the plot is loosely based on the 1973 tennis match between Billie Jean King and Bobby Riggs. As well as including tracks from Elton John, Tommy James & The Shondells and a Sarah Bareilles original - the movie is scored by our old friend Nicholas Britell. You'll hear examples of all of these artists during the conversation.

For a small nation, Scotland doesn't half punch hard when it comes to the arts. And like previous guest David Mackenzie, Paul McGuigan is a fine example of a Scottish director doing great things on a global stage. From gritty British crime drama Gangster No 1 to whip-smart Hollywood thriller Lucky Number Slevin, he's proved most versatile - also working on a string of TV hits such as Sherlock.Paul's latest film is Film Stars Don't Die In Liverpool. Based on the memoir by Peter Turner, it tells the story of his relationship with screen goddess Gloria Grahame while she was living in the city. Scored by Paul's friend J Ralph, it also features tracks by Elton John, A Taste Of Honey, Jose Feliciano and and an original composition from the one and only Elvis Costello. You will, of course, hear examples of all of these artists throughout the conversation - as well as David Ruskin's delightful love them for The Bad & The Beautiful, for which Gloria won an Oscar for Best Supporting Actress in 1952.

Though still a relative newcomer to the cinematic mainstream, Yorgos Lanthimos has already proved himself to be a filmmaker of wild originality and imagination.Following his breakthrough feature Dogtooth, which tells the story of children completely cut off from the outside world by their parents, he brought us The Lobster, a surreal tale about people who are turned into animals if they fail to find love.His latest offering is psychological revenge thriller, The Killing Of A Sacred Deer. Starring Barry Keoghan, Colin Farrell and Nicole Kidman, it follows a family forced into making a torturous decision having seemingly been cursed. Unsettling, unpredictable and gripping, it landed the best screenplay award at this year's Cannes.Though Yorgos hasn't worked with a composer on any of his films to date, the classical pieces he uses in The Lobster and Deer often serve a similar purpose. While the former features the work of Beethoven, Stravinsky, Strauss and Britten, the latter has a much more experimental palate - full of agitated strings and alarming tonal shifts.You'll hear plenty examples of this throughout the course of the conversation, as well as tracks by Nick Cave & Kylie Minogue and Radiohead (for whom Yorgos directed a short video).

If you like your movies lavish, dreamy and dripping in nostalgia, you could do a lot worse than turn to the work of Italian director Luca Guadagnino. Luca is a filmmaker with a sensitive touch - capable of making the very specific set of circumstances in the stories he tells seem personal and relevant to us all.Music, of course, has proved most useful in achieving this recurring tone - not least in A Bigger Splash, which starred Tilda Swinton as a world-fmaous rockstar and Ralph Feinnes as a larger-than-life record producer.His latest offering is Call Me By Your Name. Set in Italy, the film chronicles the relationship between 17-year-old Elio Perlman and his father's American student, Oliver, who spends a heady summer living with the family in 1983.Suffice to say Edith is not alone in loving it, with critics already bigging-up its chances come awards season.Luca tends not to use conventional composers in his work - though Sufjan Stevens has written two original cues for Call Me By Your Name. Instead, for the most part, he relies on source music. And given that the character of Elio is a pianist, Luca sprinkled the narrative with piano compositions by the likes of John Adams and Ryuichi Sakamoto.You'll also hear music from The Psychedelic Furs, Rolling Stones, Captain Beefheart and Goblin throughout the course of the conversation.

It’s always a pleasure to welcome a directorial debutant to Soundtracking – what with their entirely fresh take on the art of source music and score.Not that Andy Serkis is a novice when it comes to cinema. As an actor, he played Gollum in Lord Of The Rings and Caesar in the Planet Of The Apes franchise, with roles in the new Star Wars and Black Panther to come soon.He also brilliantly captured the essence of troubled troubadour Ian Dury in Sex & Drugs & Rock N Roll, which was directed by our good friend Mat Whitecross. Indeed it’s thanks to Mat you’ll get to hear Andy’s version of My Old Man from the film – after his editor Marc dug out a copy for us.Andy’s first major foray behind the camera is Breathe. Starring Andrew Garfield and Claire Foy, Breathe tells the story of Robin Cavendish, who was given three months to live after being paralysed from the neck down by polio at the age of 28. He became a pioneering advocate for the disabled and travelled the world with his wife, Diana Blacker, in the hope of transforming the lives of others like him. Since Robin's son Jonathan is Andy's partner at their production and motion capture company, Imaginarium, he had a deeply personal connection to the narrative. This extended to the music, which was composed by his friend, Nitin Sawhney.Now while this is Andy's first job in charge of an actual feature film, he previously directed the cutaway scenes for video game, Heavenly Sword. And who did he get to score that? None other than Nitin, of course ...

Of the many directors we've featured on this show, few can claim to have served up such a diverse body of work as Michael Winterbottom. Michaeal is one of Britain's most inventive and ground-breaking film-makers. From his 1995 debut Butterfly Kiss to controversial love story 9 Songs and gritty docu-drama Road To Guantanamo, he has consistently experimented with subject matter and form - often to critically-acclaimed & award-winning effect, There can be no finer example of his talents than bittersweet comedy The Trip - which starred Steve Coogan and Rob Brydon and was described by Richard Curtis as one of the greatest television programmes of all time. Rather like The Trip, his latest project On The Road blurs the line between fact and fiction. Ostensibly a documentary about a real tour by the band Wolf Alice, the narrative revolves around a relationship between two members of the crew, played by actors Leah Harvey and James McArdle. Though he tends to use source music over score, Michael has worked with composer Michael Nyman on several occasions, Plenty about Mr Nyman during the conversation, as well as music by The Sex Pistols, Richard Strauss, Happy Mondays, Joy Division, Elbow and The Super Furry Animals. This episode is brought to you by Casper Mattresses and Tide Bank. Details of special offers available to you can be heard at the start of the programme.

It's high time we had a bit of Nordic Noir on this show, so it's an absolute pleasure to welcome rising Swedish star Tomas Alfredson to Soundtracking.Tomas made his name with Let The Right One In - which was scored by Johan Söderqvist, won numerous awards and was described by legendary critic Roger Ebert as the 'best modern Vampire movie'.He then took charge of the adaptation of John Le Carre's classic novel Tinker Tailor Soldier Spy, for which he employed the services of Spanish composer Alberto Iglesias.Now he brings us another project based on a book in the shape of The Snowman, Jo Nesbo's dark, disturbing and thrilling international bestseller. Starring Michael Fassbender, Rebeccca Ferguson and Charlotte Gainsbourg. the film is scored by the ever reliable Marco Beltrami.Since the score is not commercially available yet, we owe a huge debt of gratitude to our friends at Back Lot Music for sending us all the cues in advance. You can get hold of them yourself in a week or so, but meantime you'll hear plenty of examples as Tomas deconstructs Marco's work in fascinating detail ...

Following our chat with Clint in episode 52, we had a little snippet left over in which he talked briefly about his score for Loving Vincent. And given that it's out this week, we thought we'd publish it now.The conversation is accompanied by two of his cues from the movie, Marguerite Gachet At The Piano and Wheatfield With Crows.

It's been a while since we can recall such a keenly anticipated cinematic event, or one that has then gone on to exceed all our wildest expectations. But that is what our guest this week Denis Villeneuve has achieved with Bladerunner 2049.We discuss taking on the legacy of Vangelis - plus his trio of films with composer Jóhann Jóhannsson: Prisoners, Sicario and Arrival

Given how tragically hard we've found it to speak to women on this show, it's a genuine delight to welcome writer, director and producer Nancy Meyers to Soundtracking.Nancy is one of the grand dames of Hollywood. Having earned an Oscar nomination for her original screenplay for Private Benjamin in 1980, she's since been responsible for a string of commercial smashes, including The Parent Trap, Something's Gotta Give and The Holiday. Indeed, her second film as director, What Women Want, was at one stage the most successful film ever directed by a woman, taking in $183 million in the United States alone. Her latest project is Home Again, for which she assumed the role of producer for her daughter Hallie. The film is scored by John Debney, who features prominently in the Jon Favreau episode too.What with being one of the undoubted queens of the Rom-Com, Nancy has worked with several legendary composers over the years - from Bill Conti and Alan Silvestri to the inimitable Hans Zimmer. You'll hear plenty of their work throughout the conversation, but where else could we begin than with Carole King?

As drummer for one of the world's most successful, respected and critically-acclaimed bands, he's thrilled music-lovers across the planet for a quarter of a century.Now Philip Selway of Radiohead has turned his hand to film scores - taking charge of the music for Polly Steele's debut feature, Let Me Go.Based on the memoir of Helga Schneider, Let Me Go tells the story of a woman who discovers her mother had strong ties with the Nazis many years after she was abandoned by her as a child. It features four incredibly strong and well-drawn female characters - which inspired Philip's compositions in all sorts of fascinating ways.Philip is the first of our guests who spends most of his time being a rock-star - albeit a particularly humble and unassuming one. As such, he and Edith not only explore the specifics of his score for Let Me Go, but also the different creative challenges it posed to those he encounters in his day job.

We've had several polymaths on this show, from Jon Favreau to Matt Ross and Warren Beatty - who are as at home in front of the camera as behind it. And Stanley Tucci certaininly falls into that category - an actor, writer and director who's been involved with countless critically acclaimed works of film and television. Stanley's latest project is Final Portrait. Starring the sensational Geoffrey Rush and Armie Hammer, it's based on the true story of the time American journalist James Lord sat for world-renowned artist, Alberto Giacometti. Critics agree it's a charming delight - as do we!Given the 1960s Parisian setting, there were plenty of opportunities to play around with the idiomatic French music of the era. But Stanley was keen to avoid cliche, complimenting the familiar sounds of accordions and chanteuses with Evan Lurie's whimsical score. You'll hear plenty of examples of music from the film, as well as bits and bobs from Stanley's other films.

Following a string of seasoned moviemakers such as Luc Besson, Doug Liman and Steven Soderbergh, we bring you a relative novice this week in the shape of Benedict Andrews. At least - a novice in cinematic terms. For Benedict is one of the world's foremost theatre and opera directors, who makes the transition to the screen with psychological thriller Una.Given this is Benedict's first film, much of the conversation focuses on the differences between the mediums in which he's worked. It also gives us an opportunity to play you examples of music from his stage productions, including extracts from Alex Baranowski's smoky, cinematic score for Streetcar Named Desire, which starred Gillian Anderson.But there's plenty to discuss when it come to Una too. Starring the ever excellent Rooney Mara and Ben Mendelsohn, the narrative centres on a woman confronting an older man about a illicit sexual relationship which took place in their past. The film is scored by Benedict's friend Jed Kurzel, whose work we discussed at length during a previous show with Jed's brother, Justin. Jed has developed a reputation as a composer of serious weight, as evidence by the fact he and the London Contemporary Orchestra recently provided the music for Ridley Scott's Alien Covenant. Hardly surprising, then, that Benedict turned to his old mate on taking the plunge from stage to screen ...

When Edith sat down with Steven Soderbergh, he immediately told her he'd been listening to our podcast by way of research. That unsettled her a little bit, but we hope you'll agree his homework served him well - such was the magnificence of his company!As a director, he's renowned for his expert use of both needle-drop and score - with Thomas Newman and Cliff Martinez two of his go-to composers.His latest project Logan Lucky sees him reunited with David Holmes, with whom he struck up a most fruitful relationship on Out Of Sight and the Ocean films. And it's with Logan Lucky we began - and David's Original Score Medley that features on the soundtrack to the film ...

From indie classics Swingers and Go to big budget blockbusters The Bourne Identity and Edge Of Tomorrow, Doug Liman is a director who makes a point of thrusting the viewer into the very heart of the action.His musical selections are central to the experience - as evidenced by the Oakenfold track which so memorably accompanied the exhilarating car chase in Bourne, and accompanies Edith's intro.Doug's latest film is American Made. It's based on the life of Barry Seal, a commercial pilot who became a drug smuggler in the 1980s and was recruited later on by the DEA to provide intelligence. The film is scored by Christophe Beck, who has very kindly sent us a couple of his cues from the film to exclusively feature in this episode. They're not available anywhere yet, so MASSIVE thanks to him. But as well as Christophe's original compositions, American Made also features a rip-roaring array of needle-drops from the 70s and 80s, including tracks by George Harrison, Talking Heads and the one which opens up the conversation - A Fifth Of Beethoven by Walter Murphy