Score: The Podcast

Composer Siddhartha Khosla on his massive hit that is ONLY MURDERS IN THE BUILDING (now midway through Season 2), where those incredibly catchy melodies came from and why he loves to write them. The thematic reason why Sidd says the show needed an orchestra — and how SCORE: THE PODCAST’s own Carol Kuswanto ended up playing piano for the score! (She joins to break it down.) We also chat with Sidd about whether discovering true-crime podcasts in between seasons changed the tone of his music, working with top-notch editors, and the hidden clues in season 1’s score. Interview by Robert Kraft and Matt Schrader, with Carol Kuswanto, only on MORE SCORE.

The composer behind the hit miniseries THE DROPOUT talks about her upbringing, recording electronic and orchestral music for film, and how she overcame not being able to “hook” the music until she discovered Elizabeth’s theme in theme. Plus, what Robert learned from Jim Henson about bringing kids into the workplace and a dream TV series Robert plans to do with Anne!

Theodore Shapiro is one of the emerging superstars of film and television composing, with a background in comedies and recent breakout hits such as Apple TV+’s SEVERANCE, directed by Ben Stiller. Teddy talks about getting started on another breakout hit YELLOWJACKETS before handing off the series to his friends Craig Wedren and Anna Waronker. Then, we dive into the intensely cinematic, deeply intimate and isolated music for SEVERANCE. Plus, how Teddy and Ben Stiller found their groove during pandemic lockdowns. Interview by Kenny Holmes and Matt Schrader on MORE SCORE.

Icelandic composer Herdís Stefánsdóttir talks about crafting a modern score for the Victorian-era THE ESSEX SERPENT on AppleTV+, alongside co-composer Dustin O’Halloran, and her score to Y: THE LAST MAN on FX. How her path from law-school dropout to writing music for dance students worried her parents. Plus, how Herdís ended up working with the late Jóhann Jóhannsson (ARRIVAL, THE THEORY OF EVERYTHING) and meeting Hildur Guðnadóttir (JOKER) in Reykjavik — and what its like scoring films and television with Icelandic musicians. Interview by Matt Schrader on MORE SCORE.

Anna talks about her hit show Yellowjackets, her father Lenny’s legacy in music and at Warner Bros., Randy Newman’s generous coaching of her early music, and making music that you are passionate about. Interview by Robert Kraft on More Score!

Composer Natalie Holt talks about her theremin-infused score for Marvel’s LOKI, her first love of film music (John Williams’ E.T.), and how incredible it was to be able to utilize a new theme from John Williams for OBI-WAN KENOBI. Plus, how her pop string quartet helped pay the bills and led her into film composing — and why she threw an egg at Simon Cowell on Britain’s Got Talent in 2013. Interview by Matt Schrader on MORE SCORE.

Composer Mac Quayle (AMERICAN HORROR STORY, MR. ROBOT, GASLIT, AMERICAN CRIME STORY: IMPEACHMENT) talks about how he scaled up his music team to be able to take on multiple shows he loves. What he thought about Danny Elfman's Coachella performance and what it means for composers. Plus, how getting stoned in a college music theory class — he flunked the assignment — helped him discover the value of experimental music (with his NY-based band Fibre.) Interview with Matt Schrader and Kenny Holmes on MORE SCORE!

Composer John Lunn (DOWNTON ABBEY: A NEW ERA) talks about scoring six seasons of one of TV’s most prolific successes, and the transformation into a hit movie franchise. Why A NEW ERA (out today) is the score he’s most proud of, the joy of scoring at Air Lyndhurst with 70-piece strings, and why the quiche in the Air cafeteria is so delicious — as Robert can attest! Interview by Robert Kraft and Matt Schrader on MORE SCORE! MORE SCORE is a fan-supported show available on Patreon, Apple Podcast and Spotify. To support for $10/month and get full episodes from inside the film score world, use the links below: Apple (iOS 15 or later): http://podcasts.apple.com/us/podcast/... Spotify (via Anchor): http://anchor.fm/score/subscribe Patreon: http://Patreon.com/MoreScore

Hesham Nazih is a composer based in Cairo, and the first Egyptian composer to score a Marvel project with MOON KNIGHT. In this interview, Hesham details how he got the job, the spectacular vocal effects in the music, and the difference between the Hollywood sound of Egypt and the real thing — and how they’ve grown together. Plus, Hesham’s story of being unable to afford musical training, and his process of self-teaching from playing in bands to meeting young filmmakers who needed scores. And the lesson one filmmaker shared with him about being unafraid to say “no” when you don’t believe in the project. Interview by Matt Schrader.

Breton Vivian is an English-Australian composer known for his scores to Yellowstone (with Brian Tyler) as well as the recent miniseries 1883. We talk about how working at Brian’s studio (and helping him move it) helped Breton come into his own as a composer. Plus, the different ways themes, unique solo instruments, and orchestra can play together in western-inspired score. He also talk about his entry into film scores (growing disillusioned with the UK band scene) and how there’s no substitute for taking lots of meetings with potential creative collaborators. Interview by Matt Schrader on MORE SCORE.

Composer Joseph Stephens (EASTBOUND & DOWN, VICE PRINCIPALS, UPLOAD) talks about creating songs and score for the dark comedy THE RIGHTEOUS GEMSTONES on HBO, how he works directly with Danny McBride on the songs and lyrics, and his strange path to scoring through several experimental bands. Plus, how he sources musicians and plugs in virtually, post-pandemic! Interview with Kenny Holmes and Matt Schrader on MORE SCORE!

The composing duo MONDO BOYS is behind some of the big breakout indie films of the last half decade (SHUT IN, FATMAN, SILK ROAD). They talk about their unusual path from experimenting as teenagers in San Diego in the late 1990s, to their process creating some of the most original and polished hybrid scores in Hollywood today. Mike Schanzlin and Mike Griffin discuss the origin of their MONDO BOYS moniker, their workflow together, why thinking like a director helps them musically, and how a few virtuoso instrumentalists can make a good score great. Interviewed by Matt Schrader.

In this special episode of MORE SCORE on Patreon, Robert Kraft speaks to Russian composer Dmitry Selipanov about fleeing his home in Moscow because of the war. With his family now sequestered in a temporary home in nearby Georgia (possibly never returning to his home or music studio), Dmitry discusses the most difficult decision he’s ever had to make for his family’s well being, and his hopes that his successful film scoring career may one day be able to continue in another country. NOTE: This is a free sample episode of MORE SCORE. MORE SCORE is the premium offseason bonus show of SCORE: THE PODCAST, with regular interviews, behind-the-scenes materials, and a whole lot more. You can subscribe on several platforms here: PATREON (best option with subscriber levels & merch): http://Patreon.com/MoreScore APPLE PODCASTS: Click "Subscribe" on the Score: The Podcast show page. https://podcasts.apple.com/us/podcast/score-the-podcast/id1357882784 ALL OTHERS: Click the link in our show description to subscribe.&nb

Composer Anthony Willis talks about his eight years working with John Powell, his discovery of his own musical passions as a kid, and how it led him to experiences working with people like Harry Gregson-Williams and Henry Jackman — and his breakout solo composer job on Emerald Fennell’s 2020 Oscar nominated PROMISING YOUNG WOMAN.

Giona Ostinelli & Sonya Belousova talk about the road from classical pianist to scoring films together, their strange instrument selection, recording slurping sounds for the score to NBC's The Thing About Pam, and The Witcher season 1. Plus, a special pig performance of their hit song "Toss A Coin To Your Witcher" (yes, it's as odd and wonderful as it sounds). Enjoy!

Composer Joe Trapanese talks about how long he can experiment to find a unique sound, why he doesn't mind long delays for his movies to come out, and his decision to take fewer scoring jobs, to ensure each one is something he can find fulfillment in. Plus, working for years on his upcoming thriller Spiderhead directed by Joseph Kosinski (TRON: Legacy, Oblivion, Top Gun: Maverick)

Tina Guo is an internationally known cellist (and composer!) known for her performing career on worldwide concert tours, including the upcoming Hans Zimmer Live! In this chat, Tina talks about leaving for the first post-pandemic tour, why the crowds in Dublin in particular get so excited for film music, and what it's like to enter a musical a trance on stage. 

Disney's ENCANTO composer Germaine Franco sits down to talk about its #1 soundtrack, working with Lin Manuel Miranda, her start with composer John Powell (and how she met Robert Kraft), and much more! 

Matt Sullivan has one of the most unique jobs in film music. He's a musical supervisor, but he prefers the term musical director, more similar to theater. He cut his teeth on musical-oriented films, overseeing the storyboards, early edits, and even vocal coaching for actors, as well as live recordings on set. For West Side Story, he worked directly with Steven Spielberg and composer David Newman for more than a year. What does the future of film music hold? Matt Sullivan is one of the best people to answer just that!

Just a few years ago, Joseph Shirley was a USC student from New Orleans. Then he got an apprenticeship with the up-and-coming Ludwig Göransson. His first project was CREED, followed by a string of massive projects including BLACK PANTHER, Christopher Nolan's TENET, and the hit Star Wars series THE MANDALORIAN. Now, Joseph is anchoring the music for his own Star Wars series, THE BOOK OF BOBA FETT, releasing now on Disney+. Kenny and Matt ask Joseph about working with Jon Favreau, Dave Filoni and Robert Rodriguez to experiment with new sounds, including an audacious choral arrangement that forms the foundation of the musical approach.