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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This weekend mark's our first birthday, and it occurred to us that we've been rather remiss in our formative year in not having featured a music supervisor. So we decided to put that right by speaking to Sarah Bridge, who came highly recommended by one of our previous guests, the Oscar winning John Ridley.
As well collaborating with John on Sky Atlantic's TV series Guerrilla, Sarah has worked on a host of critically acclaimed productions including X + Y, The Sense Of An Ending and The Theory Of Everything. The latter was scored by one of her idols, Jóhann Jóhannsson.
This episode features examples of his score, not to mention music by Max Richter, Femi Kuti, Keaton Henson and Irma Thomas.
But we began by learning about the myriad facets to Sarah's role in the movie-making process.
When it comes to stylish movie-making, you can generally rely on the French. And one man with Gallic flair in abundance is Luc Besson.
The genial Parisian has been involved in over 100 films as either a writer, producer or director - including much loved cult classics Nikita, The Big Blue and Leon. His latest project is CGI sci-fi epic Valerian And The City Of A Thousand Planets, a sumptuous visual feast based on the comics he loved as a kid.
Much of Luc's work has been scored by his longtime friend Eric Serra, of which more in a moment. But in the case of Valerian, he turned to Alexandre Desplat, just to shake things up a little bit ...
When we originally conceived the idea of a show about film music, one of the first names on our guest wishlist was Sofia Coppola. And we finally got our girl - with the supremely gifted writer / director joining Edith on the release of The Beguiled, which won her the Palme D'Or at Cannes.
Sofia's pedigree is impeccable. Few directors in the history of cinema have used music more effectively than her father - who instilled in her from a young age a deep understanding of its potential.
This has been reflected in her own work - from the anachronistic punk tracks she deployed in period drama Marie Antoinette to the dreamy electronica that so perfectly fitted the mood of Lost In Translation. Playing now from that film is Alone in Kyoto by Air, who would later provide the score for The Virgin Suicides.
She's also married to Thomas Mars form Phoenix, who composed what little score there is for The Beguiled.
He's back! Having joined us to reflect upon his career to date in Episode 34, Edgar Wright returns to concentrate on his latest project Baby Driver, which has received widespread critical acclaim as it wows cinema-goers around the world.
The film tells the story of young getaway driver Baby, who uses music to calm his nerves in the face of chronic tinnitus. As such, he's listening to his iPod throughout much of the narrative. It's an audacious premise which - while posing technical challenges - also gave Edgar the opportunity to share a wealth of sonic gems from his record collection.
With 35 tunes in Baby Driver, there's certainly plenty to discuss - from the specific Jon Spencer track that inspired the movie 20 years ago to the structural delights of Barry White, Queen and Focus.
It also features a personal favourite of Edith's, which seemed as good a place as any to start the conversation ...
One of the surprise cinematic hits of 2016 was the heart-wrenching coming-of-age drama Moonlight, which of course won Best Picture at this year's Oscars in unforgettable circumstances.
Written and directed by Barry Jenkins, Moonlight presents 3 stages in the life of the main character Chiron as he struggles to deal with his sexuality and challenging social circumstances.
It was beautifully scored by Nicholas Britell, who we're delighted to say is Edith's latest guest on Soundtracking - a weekly podcast about screen music.
On the face of it, Nicholas's compositions follow orchestral conventions. Scratch beneath the surface, however, and one discovers all sorts of sonic tricks - including a technique borrowed from hip-hop called Chopped & Screwed, in which the original piece of music is slowed down, bent and overlaid to create something that sounds altogether different. Plenty, then, for Edith and Nicholas to discuss ...
There have been many great documentary makers over the years, but of those at work today one of the undoubted bosses is Nick Broomfield.
Often controversial, always challenging, Nick has covered myriad subjects - from serial killer Aileen Wuornos and Hollywood madam Heidi Fleiss to Afrikaner nationalist Eugene Terre Blanche.
He's perhaps best known for Kurt & Courtney, an incendiary investigation into the events surrounding Cobain's death - which Love was none too happy about. We do, of course, hear plenty more about that during the conversation.
Now normally, we play relevant musical extracts throughout the entirety of the conversation, but given the nature of Nick's work, it's a more conventional interview on this occasion.
But there's still plenty of music to discuss - not least because his latest project Whitney: Can I Be Me is all about Whitney Houston, who was found dead in a hotel room in 2012.
Made in collaboration with filmmaker Rudi Dolezal, Can I Be Me is scored by Nick Laird-Clowse (pron: Close), so it's his cues you hear we discuss Nick's thoughts on the troubled superstar.
Edith's latest guest is an unassuming delight - still early in her career but surely destined for great things (of which she's already achieved a fair few).
Alice Lowe is actor, writer and now director, who has appeared in a host of critically acclaimed TV shows and films - including Ben Wheatley's Sightseers, which she co-wrote.
Her mainstream directorial debut Prevenge is a black comedy about a pregnant woman who believes she is receiving murderous instruction from her unborn child.
Alice enlisted electronic duo Toydrum to compose the score for the movie - with the pair delivering a suitably unsettling suite that reflects protagonist Ruth's psychopathic urges.
We also hear about her love of Delia Derbyshire, David Lynch and the one and only Nik Kershaw.
One hardly needs an excuse to discuss the work of Nick Cave and Warren Ellis, but it's always good to have one anyway.
Australian director David Michod has employed the services of the ever-reliable duo for his latest project War Machine, which is exclusively available to watch on Netflix.
It is a staggering score, of which you can hear plenty during Edith's conversation with David. They also discuss Antony Partos's contributions to Animal Kingdom and The Rover, which are equally magnificent.
Whatever you think about the Guy Ritchie canon, it's hard to dispute his flair for combining the visual with the sonic. From Lock, Stock ... and Snatch to Sherlock Holmes and The Man From UNCLE, the musical elements of his films often drive the narrative - through his ingenious use of needle-drops and bold score. Indeed, when it comes to the latter, he's collaborated with the great Hans Zimmer on more than one occasion, of which more during the conversation.
His latest movie is King Arthur: Legend Of The Sword. Scored by Daniel Pemberton - who worked on The Man From UNCLE too - it also features British artist Sam Lee. As we'll hear, both rose to Guy's challenge of using the timeless tropes of folk music to create something at once medieval and modern.
Guy is on typically mischievous form & we very much hope you enjoy the banter!
Over the course of the last twenty odd years, British director John Madden has brought us a string of critically acclaimed films which, pleasingly, have tended to do rather well at the box office too. Indeed, Shakespeare in Love not only landed seven Oscars, but also returned a tidy proft of over $250 million.
And as we'll discover, it's John's view that you can't make a good movie without considerable help from a good composer.
In the case of John, score dominates - since the kind of films he's made haven't generally required needle drops. So it is you'll hear extracts of Thomas Newman's score for the Best Exotic Maigold Hotel movies, Stephen Warbeck's work on Mrs Brown and Shakespeare In Love, and Max Richter's haunting suite for his latest film, the political thriller Miss Sloane ...
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