Stay ConnectedIn 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.
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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.
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.
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