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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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.
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.
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