The Film Scorer
@thefilmscorer.bsky.social
Trying to put film music into words;
Host of “The Film Scorer” podcast, featuring long-form interviews with film composers
https://thefilmscorer.com
Host of “The Film Scorer” podcast, featuring long-form interviews with film composers
https://thefilmscorer.com
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An Interview with Olivier Deriviere - The Film Scorer
Olivier Deriviere joins The Film Scorer to discuss his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy.
thefilmscorer.com
Olivier Deriviere joins me on The Film Scorer to chat about his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy, creating scores that respond to player's actions (and how other composers can too), & the rival period Greek score from this year.
thefilmscorer.com/an-interview...
thefilmscorer.com/an-interview...
As much as I wasn't crazy about the new Masters of the Universe film, Pemberton's score brings so much life and energy to the film and he nails the guitar tone with Brian May (not to mention the nice connection of using Queen's classic "Princes of the Universe" late in the film)
September 22, 2026 at 2:15 PM
As much as I wasn't crazy about the new Masters of the Universe film, Pemberton's score brings so much life and energy to the film and he nails the guitar tone with Brian May (not to mention the nice connection of using Queen's classic "Princes of the Universe" late in the film)
Olivier Deriviere joins me on The Film Scorer to chat about his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy, creating scores that respond to player's actions (and how other composers can too), & the rival period Greek score from this year.
thefilmscorer.com/an-interview...
thefilmscorer.com/an-interview...
An Interview with Olivier Deriviere - The Film Scorer
Olivier Deriviere joins The Film Scorer to discuss his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy.
thefilmscorer.com
September 21, 2026 at 4:03 PM
Olivier Deriviere joins me on The Film Scorer to chat about his scores for Dying Light: The Beast and Resonance: A Plague Tale Legacy, creating scores that respond to player's actions (and how other composers can too), & the rival period Greek score from this year.
thefilmscorer.com/an-interview...
thefilmscorer.com/an-interview...
Motor City, like season 4 of The Bear, shows just how hard it is to try and "score" a project primarily using licensed songs. Folks like Scorsese and Tarantino make it seem easy, but so often it makes scenes feel detached and like a montage
September 18, 2026 at 5:48 PM
Motor City, like season 4 of The Bear, shows just how hard it is to try and "score" a project primarily using licensed songs. Folks like Scorsese and Tarantino make it seem easy, but so often it makes scenes feel detached and like a montage
Lorne Balfe and I dive real deep into the world of film music, like working with directors and other composers, academic v. emotional approaches to music, the benefits of a diet of Diet Coke and Marlboro Lights, getting kicked out of five universities, and more...
thefilmscorer.com/an-interview...
thefilmscorer.com/an-interview...
An Interview with Lorne Balfe - The Film Scorer
Lorne Balfe joins The Film Scorer to do a deep dive on the states of the scoring and film industries.
thefilmscorer.com
September 7, 2026 at 3:23 PM
Lorne Balfe and I dive real deep into the world of film music, like working with directors and other composers, academic v. emotional approaches to music, the benefits of a diet of Diet Coke and Marlboro Lights, getting kicked out of five universities, and more...
thefilmscorer.com/an-interview...
thefilmscorer.com/an-interview...
There's absolutely no reason for Ghoulies' main title cue to go this hard. If anything, it's a detriment since the rest of the movie is so dreadful and never comes close to the gloriously whimsical tone set here
Scored by Richard Band and Shirley Walker (much of the score is taken from other films)
Scored by Richard Band and Shirley Walker (much of the score is taken from other films)
August 28, 2026 at 10:28 PM
There's absolutely no reason for Ghoulies' main title cue to go this hard. If anything, it's a detriment since the rest of the movie is so dreadful and never comes close to the gloriously whimsical tone set here
Scored by Richard Band and Shirley Walker (much of the score is taken from other films)
Scored by Richard Band and Shirley Walker (much of the score is taken from other films)
Damn, can't believe Mondo is apparently closing their vinyl division since it's been such a big presence in the score/soundtrack space.
It pretty clearly started slowing down its releases since being bought by Funko a couple years ago. A shame to see it go out like this.
It pretty clearly started slowing down its releases since being bought by Funko a couple years ago. A shame to see it go out like this.
August 26, 2026 at 5:42 PM
Damn, can't believe Mondo is apparently closing their vinyl division since it's been such a big presence in the score/soundtrack space.
It pretty clearly started slowing down its releases since being bought by Funko a couple years ago. A shame to see it go out like this.
It pretty clearly started slowing down its releases since being bought by Funko a couple years ago. A shame to see it go out like this.
Been watching Tales from the Crypt, and the composers involved (not to mention actors and directors) are insane. Alan Silvestri, James Horner, Jan Hammer, Bill Conti, Michael Kamen, and more scoring short anthology horror pieces, awesome
August 25, 2026 at 8:14 PM
Been watching Tales from the Crypt, and the composers involved (not to mention actors and directors) are insane. Alan Silvestri, James Horner, Jan Hammer, Bill Conti, Michael Kamen, and more scoring short anthology horror pieces, awesome
“I’m afraid that people are going to get tired of me,” that I'll "disappear".
I chatted with Takeshi Furukawa about scoring Avatar: The Last Airbender and Planet of Lana II, and more importantly about his greatest fears and anxieties as a composer.
Listen here: thefilmscorer.com/an-interview...
I chatted with Takeshi Furukawa about scoring Avatar: The Last Airbender and Planet of Lana II, and more importantly about his greatest fears and anxieties as a composer.
Listen here: thefilmscorer.com/an-interview...
An Interview with Takeshi Furukawa - The Film Scorer
Composer Takeshi Furukawa discusses his scores for the live action Avatar: The Last Airbender and Planet of Lana II.
thefilmscorer.com
August 24, 2026 at 3:16 PM
“I’m afraid that people are going to get tired of me,” that I'll "disappear".
I chatted with Takeshi Furukawa about scoring Avatar: The Last Airbender and Planet of Lana II, and more importantly about his greatest fears and anxieties as a composer.
Listen here: thefilmscorer.com/an-interview...
I chatted with Takeshi Furukawa about scoring Avatar: The Last Airbender and Planet of Lana II, and more importantly about his greatest fears and anxieties as a composer.
Listen here: thefilmscorer.com/an-interview...
Göransson's score for the Odyssey is worth it just for the bow twang payoff at the end
Gotta be crazy pressure to come up with a distinct, instantly recognizable single note that needs to carry throughout the score/film
Gotta be crazy pressure to come up with a distinct, instantly recognizable single note that needs to carry throughout the score/film
August 23, 2026 at 10:54 PM
Göransson's score for the Odyssey is worth it just for the bow twang payoff at the end
Gotta be crazy pressure to come up with a distinct, instantly recognizable single note that needs to carry throughout the score/film
Gotta be crazy pressure to come up with a distinct, instantly recognizable single note that needs to carry throughout the score/film
Rest in Peace Nick Glennie-Smith, who scored films like The Man in the Iron Mask and Secretariat, frequently collaborated with Hans Zimmer and many fellow members of Remote Control Productions (dozens of scores with Hans alone), and worked with Paul McCartney, Phil Collins, and many others.
August 20, 2026 at 4:17 PM
Rest in Peace Nick Glennie-Smith, who scored films like The Man in the Iron Mask and Secretariat, frequently collaborated with Hans Zimmer and many fellow members of Remote Control Productions (dozens of scores with Hans alone), and worked with Paul McCartney, Phil Collins, and many others.
Looking forward to releasing this next interview, easily the most open, honest, and personal a composer has gotten on the pod
August 20, 2026 at 12:27 AM
Looking forward to releasing this next interview, easily the most open, honest, and personal a composer has gotten on the pod
Listened to the score for Ice Cream Man, and Roth’s use of AI in the film (and initially lying about it), unfairly made me wary of the score too. He cast a shadow of suspicion over every aspect of the production, tainting them all
August 19, 2026 at 1:58 PM
Listened to the score for Ice Cream Man, and Roth’s use of AI in the film (and initially lying about it), unfairly made me wary of the score too. He cast a shadow of suspicion over every aspect of the production, tainting them all
Pretty notable that every single composer in the article mentions the importance of the royalties they got from those theme tunes, a crucial thing for artists that’s seemingly increasingly whittled away
www.theguardian.com/tv-and-radio...
www.theguardian.com/tv-and-radio...
‘It might be one of the most unpopular tunes ever written!’: kids’ TV composers tell all
Big cheques, standing ovations, irate adults – there are surprising sides to composing a children’s TV theme tune. From Bluey to Byker Grove, the creators of the best reveal the secrets
www.theguardian.com
August 12, 2026 at 12:57 AM
Pretty notable that every single composer in the article mentions the importance of the royalties they got from those theme tunes, a crucial thing for artists that’s seemingly increasingly whittled away
www.theguardian.com/tv-and-radio...
www.theguardian.com/tv-and-radio...
One really underrated aspect of The Furious is how well its scored to picture - there are so many times where a well-placed stinger or cue ending/beginning adds drama, characterization, or general aura farming, or simply signals the next stage of a fight sequence
August 10, 2026 at 11:22 PM
One really underrated aspect of The Furious is how well its scored to picture - there are so many times where a well-placed stinger or cue ending/beginning adds drama, characterization, or general aura farming, or simply signals the next stage of a fight sequence
Kara Talve and I chat about Prehistoric Planet, The Simpsons, Harry Potter, why every score deserves a release, and my skills as an interviewer.
Give it a listen👇
thefilmscorer.com/an-interview...
Give it a listen👇
thefilmscorer.com/an-interview...
An Interview with Kara Talve - The Film Scorer
Kara Talve joins The Film Scorer to talk about her Emmy-nominated scores for Prehistoric Planet as well as Bleeding Fingers Music.
thefilmscorer.com
August 10, 2026 at 1:37 PM
Kara Talve and I chat about Prehistoric Planet, The Simpsons, Harry Potter, why every score deserves a release, and my skills as an interviewer.
Give it a listen👇
thefilmscorer.com/an-interview...
Give it a listen👇
thefilmscorer.com/an-interview...
Picked up a nice range of albums on this bandcamp Friday, including some folk, black metal, ambient, and experimental
August 7, 2026 at 2:37 PM
Picked up a nice range of albums on this bandcamp Friday, including some folk, black metal, ambient, and experimental
“The music had to be soft, romantic, almost like whipped cream floating over steel. “Nightcall” gave the movie that pink heartbeat.”
RIP to a legend
www.hollywoodreporter.com/music/music-...
RIP to a legend
www.hollywoodreporter.com/music/music-...
Nicolas Winding Refn Pays Tribute to Kavinsky: ‘Nightfall’ Is “Like Whipped Cream Floating Over Steel”
The 'Drive' director pays homage to the late dance music pioneer, whose futuristic music became synonymous with the film's sexy-cool aesthetic.
www.hollywoodreporter.com
August 6, 2026 at 7:01 PM
“The music had to be soft, romantic, almost like whipped cream floating over steel. “Nightcall” gave the movie that pink heartbeat.”
RIP to a legend
www.hollywoodreporter.com/music/music-...
RIP to a legend
www.hollywoodreporter.com/music/music-...
Just saw this great review of the pod, which also highlights one of my big interviewing principles: get your ass outta the guest’s way and let them talk.
August 6, 2026 at 5:22 PM
Just saw this great review of the pod, which also highlights one of my big interviewing principles: get your ass outta the guest’s way and let them talk.
Reposted by The Film Scorer
Love this show and this is a really good interview
"What would it sound like if the hospital made the score?"
Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more.
Listen: thefilmscorer.com/an-interview...
Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more.
Listen: thefilmscorer.com/an-interview...
An Interview with Gavin Brivik - The Film Scorer
Gavin Brivik joins The Film Scorer to discuss his latest score: Faces of Death and the nature of evil in art.
thefilmscorer.com
July 27, 2026 at 7:41 PM
Love this show and this is a really good interview
"What would it sound like if the hospital made the score?"
Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more.
Listen: thefilmscorer.com/an-interview...
Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more.
Listen: thefilmscorer.com/an-interview...
An Interview with Gavin Brivik - The Film Scorer
Gavin Brivik joins The Film Scorer to discuss his latest score: Faces of Death and the nature of evil in art.
thefilmscorer.com
July 27, 2026 at 7:29 PM
"What would it sound like if the hospital made the score?"
Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more.
Listen: thefilmscorer.com/an-interview...
Gavin Brivik and I talk about scoring THE PITT and FACES OF DEATH, philosophize about the algorithms running out lives, try to manifest a death metal score, and more.
Listen: thefilmscorer.com/an-interview...
Pino Donaggio hasn't scored many notable projects in a while, but he's here going absolutely beast mode for Refn on Her Private Hell, holy smokes
July 24, 2026 at 10:45 PM
Pino Donaggio hasn't scored many notable projects in a while, but he's here going absolutely beast mode for Refn on Her Private Hell, holy smokes
Only Tubi would have an 80s Hungarian animated film where every frame looks like (well, is) an oil painting (Heroic Times)
July 24, 2026 at 12:59 PM
Only Tubi would have an 80s Hungarian animated film where every frame looks like (well, is) an oil painting (Heroic Times)
The score release for Uwe Boll's Citizen Vigilante might have the ugliest cover art ever
July 21, 2026 at 4:54 PM
The score release for Uwe Boll's Citizen Vigilante might have the ugliest cover art ever
One of the funniest things about Neil Blomkamp’s AI slop short film is that he couldn’t even cut a halfway decent teaser, it’s just 30 seconds of random “people” talking.
July 21, 2026 at 4:36 PM
One of the funniest things about Neil Blomkamp’s AI slop short film is that he couldn’t even cut a halfway decent teaser, it’s just 30 seconds of random “people” talking.
The first cue from Pino Donaggio's score to Nicolas Winding Refn's 'Her Private Hell' is out and it's a lush, alluring orchestral piece dripping with mystery and demise.
July 21, 2026 at 3:42 PM
The first cue from Pino Donaggio's score to Nicolas Winding Refn's 'Her Private Hell' is out and it's a lush, alluring orchestral piece dripping with mystery and demise.