When last we spoke to composer Jay Wadley, he'd just finished scoring the mercurial Charlie Kaufman film I'm Thinking of Ending Things. Four years and a million projects later, the Charles Ives Award-winning composer (and co-founder of music production house Found Objects, with previous guest Trevor Gureckis) has been keeping busy, from films like Fire Island, Swan Song and the upcoming We Grown Now to shows like Apple TV+'s Franklin.   Set in the eight years Benjamin Franklin spent in France drumming up monetary and logistical support for the Revolutionary War, Franklin stars Michael Douglas as the Founding Father himself, who must navigate dueling alliances and a host of stakeholders on both sides of the pond. What's more, he and his grandson Temple (played by Noah Jupe) find themselves at the head of a cultural clash between the French aristocracy and their budding republic that will change both their lives forever.   Wadley built the lush sound of Franklin with the help of an enormous orchestra and his background in classical composition, melding traditional instrumentation with modern orchestration and a decidedly Americana flair to Franklin's upsetting of the French social order. Now, he joins me on the podcast to discuss the musical journey of Franklin.   Franklin streams weekly on Apple TV+, and you can listen to Wadley's score on your preferred streamer courtesy of Apple.

<description>&lt;div data-pm-slice="1 1 []" data-en-clipboard="true"&gt;When last we spoke to composer Jay Wadley, he'd just finished scoring the mercurial Charlie Kaufman film I'm Thinking of Ending Things. Four years and a million projects later, the Charles Ives Award-winning composer (and co-founder of music production house Found Objects, with previous guest Trevor Gureckis) has been keeping busy, from films like &lt;em&gt;Fire Island, Swan Song&lt;/em&gt; and the upcoming &lt;em&gt;We Grown Now&lt;/em&gt; to shows like Apple TV+'s &lt;em&gt;Franklin&lt;/em&gt;.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Set in the eight years Benjamin Franklin spent in France drumming up monetary and logistical support for the Revolutionary War, &lt;em&gt;Franklin&lt;/em&gt; stars Michael Douglas as the Founding Father himself, who must navigate dueling alliances and a host of stakeholders on both sides of the pond. What's more, he and his grandson Temple (played by Noah Jupe) find themselves at the head of a cultural clash between the French aristocracy and their budding republic that will change both their lives forever.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Wadley built the lush sound of &lt;em&gt;Franklin&lt;/em&gt; with the help of an enormous orchestra and his background in classical composition, melding traditional instrumentation with modern orchestration and a decidedly Americana flair to Franklin's upsetting of the French social order. Now, he joins me on the podcast to discuss the musical journey of &lt;em&gt;Franklin&lt;/em&gt;.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;Franklin streams weekly on Apple TV+, and you can listen to Wadley's score on your preferred streamer courtesy of Apple. &lt;/strong&gt;&lt;/div&gt;</description>

When last we spoke to composer Jay Wadley, he'd just finished scoring the mercurial Charlie Kaufman film I'm Thinking of Ending Things. Four years and a million projects later, the Charles Ives Award-winning composer (and co-founder of music...

Jay Wadley (Franklin)

This week, I talk to legendary TV composer Mike Post about everything from the Law and Order dun-dun to his original album of musical suites.   If you've had a TV turned to a network station anytime in the last forty years, you've heard Mike Post's music. A stalwart in the TV scoring game, he is the voice of so many police and law procedurals, from The Rockford Files to LA Law to his Emmy-winning theme for Murder One. But most know him best as the voice of the long-running Law & Order franchise, having scored almost all of its varying spinoffs since the Dick Wolf flagship series premiered in the late 1980s.   But outside of his stuff TV schedule, Post is also incredibly busy as a solo composer, having just released his first standalone album in thirty years. Message from the Mountains & Echoes of the Delta is a two-part series of suites inspired by the blues and bluegrass music of his youth, lending an orchestral heft to the American musical traditions that have inspired his iconic career. It's a stellar series of tracks, ones that feel like an already-accomplished musical artist spreading his wings and revisiting the music that made him who he is today.   Message from the Mountains and Echoes of the Delta is currently available on your preferred music streamer, courtesy of Sony Music Masterworks.

<description>&lt;div data-pm-slice="1 1 []" data-en-clipboard="true"&gt;This week, I talk to legendary TV composer Mike Post about everything from the &lt;em&gt;Law and Order dun-dun&lt;/em&gt; to his original album of musical suites.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;If you've had a TV turned to a network station anytime in the last forty years, you've heard Mike Post's music. A stalwart in the TV scoring game, he is the voice of so many police and law procedurals, from &lt;em&gt;The Rockford Files&lt;/em&gt; to &lt;em&gt;LA Law&lt;/em&gt; to his Emmy-winning theme for &lt;em&gt;Murder One&lt;/em&gt;. But most know him best as the voice of the long-running &lt;em&gt;Law &amp; Order&lt;/em&gt; franchise, having scored almost all of its varying spinoffs since the Dick Wolf flagship series premiered in the late 1980s.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;But outside of his stuff TV schedule, Post is also incredibly busy as a solo composer, having just released his first standalone album in thirty years. &lt;em&gt;Message from the Mountains &amp; Echoes of the Delta&lt;/em&gt; is a two-part series of suites inspired by the blues and bluegrass music of his youth, lending an orchestral heft to the American musical traditions that have inspired his iconic career. It's a stellar series of tracks, ones that feel like an already-accomplished musical artist spreading his wings and revisiting the music that made him who he is today.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;Message from the Mountains and Echoes of the Delta &lt;em&gt;is currently available on your preferred music streamer, courtesy of Sony Music Masterworks.&lt;/em&gt;&lt;/strong&gt;&lt;/div&gt;</description>

This week, I talk to legendary TV composer Mike Post about everything from the Law and Order dun-dun to his original album of musical suites.   If you've had a TV turned to a network station anytime in the last forty years, you've heard Mike...

Mike Post (Law & Order, Message from the Mountains & Echoes of the Delta)

This week's guest is RTS winning and BAFTA-nominated composer Vince Pope, a London-based composer who cut his teeth on scores ranging from Misfits to episodes of Black Mirror. But his most exciting collaborations of late have been those with filmmaker Issa Lopez, starting with her 2017 magical-realist horror film Tigers Are Not Afraid. Now, the pair reteam to put a supernatural spin on HBO's seminal crime thriller series True Detective.   Inherited from Nic Pizzolatto's three-season anthology series, Lopez's new season, subtitled Night Country, follows a precarious period of darkness in a small Alaskan town as the town sheriff (Jodie Foster) and her ex-partner (Kali Reis) investigate the mysterious deaths of the members of a corporate research station on the outskirts of town. The case may well be tied to the unsolved murder of a Native woman that tore their partnership asunder years prior, and sends the pair down an ominous road filled with tough moral choices and events that lie beyond their understanding.   Pope's score blends elements of horror and murder-mystery atmosphere with a deep swell of psychospiritual torment, to say nothing of the addition of Native American elements like throat singers and collaborator Tanya Tagaq to incorporate the show's exploration of those cultures. Now, Pope joins me on the podcast to talk about True Detective: Night Country.   You can find  Vince Pope at his official website <a href="https://vincepope.london/" rev= "en_rl_none">here</a>.   You can stream the entire season of True Detective: Night Country on Max, and listen to the score on your preferred music streaming service courtesy of WaterTower Music.

<description>&lt;div data-pm-slice="1 1 []" data-en-clipboard="true"&gt;This week's guest is RTS winning and BAFTA-nominated composer Vince Pope, a London-based composer who cut his teeth on scores ranging from Misfits to episodes of Black Mirror. But his most exciting collaborations of late have been those with filmmaker Issa Lopez, starting with her 2017 magical-realist horror film &lt;em&gt;Tigers Are Not Afraid&lt;/em&gt;. Now, the pair reteam to put a supernatural spin on HBO's seminal crime thriller series &lt;em&gt;True Detective&lt;/em&gt;.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Inherited from Nic Pizzolatto's three-season anthology series, Lopez's new season, subtitled &lt;em&gt;Night Country&lt;/em&gt;, follows a precarious period of darkness in a small Alaskan town as the town sheriff (Jodie Foster) and her ex-partner (Kali Reis) investigate the mysterious deaths of the members of a corporate research station on the outskirts of town. The case may well be tied to the unsolved murder of a Native woman that tore their partnership asunder years prior, and sends the pair down an ominous road filled with tough moral choices and events that lie beyond their understanding.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Pope's score blends elements of horror and murder-mystery atmosphere with a deep swell of psychospiritual torment, to say nothing of the addition of Native American elements like throat singers and collaborator Tanya Tagaq to incorporate the show's exploration of those cultures. Now, Pope joins me on the podcast to talk about &lt;em&gt;True Detective: Night Country&lt;/em&gt;.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;You can find  Vince Pope at his official website &lt;a href="https://vincepope.london/" rev= "en_rl_none"&gt;here&lt;/a&gt;.&lt;/strong&gt;&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;You can stream the entire season of &lt;em&gt;True Detective: Night Country&lt;/em&gt; on Max, and listen to the score on your preferred music streaming service courtesy of WaterTower Music.&lt;/strong&gt;&lt;/div&gt;</description>

This week's guest is RTS winning and BAFTA-nominated composer Vince Pope, a London-based composer who cut his teeth on scores ranging from Misfits to episodes of Black Mirror. But his most exciting collaborations of late have been those with filmmaker...

Vince Pope (True Detective: Night Country)

Grammy- and two-time Emmy-winning composer Carlos Rafael Rivera has spent the last decade building moody, complex musical worlds around complicated characters. His earliest prominent work was with regular collaborator Scott Frank on films like A Walk Among the Tombstones, and the Netflix miniseries Godless. But it was his mercurial work on Frank's miniseries The Queen's Gambit that earned Rivera breakout status.   Since then, he's worked on a host of films and series both with Frank and elsewhere: Apple's Lessons in Chemistry, HBO's Hacks. But his two most recent scores, and some of his best, have him dealing with different ends of the prestige-crime-drama ecosystem. Take Netflix's Griselda, in which an unrecognizable Sofia Vergara climbs her way to the top of Miami's drug trade as the real-life Cocaine Godmother; scored like an opera, Rivera's sound is full of harpsichord, lone voices, big breathy melodramatic moments.   On the other side of the Atlantic lies AMC's stellar miniseries Monsieur Spade, in which Clive Owen plays an older Sam Spade solving a mystery while spending his retirement in rural France after World War II. There, the usual noir trappings are leavened by a distinct sense of melancholy, lonely guitar strains underlining the postwar fragility of its French setting.   This week, I'm thrilled to have Rivera on to talk about these shows and so much more, from his musical journey with the guitar to his philosophies on which perspective to score from. It's a brilliant chat (maybe one of the best this podcast has ever enjoyed), and I hope you enjoy.   You can find Carlos Rafael Rivera at his official website <a href="https://carlosrafaelrivera.com/" rev= "en_rl_none">here</a>.   Griselda is currently streaming on Netflix, and Monsieur Spade runs weekly on AMC and AMC+. You can also stream each soundtrack at your music service of choice.

<description>&lt;div data-pm-slice="1 1 []" data-en-clipboard="true"&gt;Grammy- and two-time Emmy-winning composer Carlos Rafael Rivera has spent the last decade building moody, complex musical worlds around complicated characters. His earliest prominent work was with regular collaborator Scott Frank on films like &lt;em&gt;A Walk Among the Tombstones&lt;/em&gt;, and the Netflix miniseries &lt;em&gt;Godless&lt;/em&gt;. But it was his mercurial work on Frank's miniseries &lt;em&gt;The Queen's Gambit&lt;/em&gt; that earned Rivera breakout status.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Since then, he's worked on a host of films and series both with Frank and elsewhere: Apple's &lt;em&gt;Lessons in Chemistry,&lt;/em&gt; HBO's &lt;em&gt;Hacks&lt;/em&gt;. But his two most recent scores, and some of his best, have him dealing with different ends of the prestige-crime-drama ecosystem. Take Netflix's &lt;em&gt;Griselda&lt;/em&gt;, in which an unrecognizable Sofia Vergara climbs her way to the top of Miami's drug trade as the real-life Cocaine Godmother; scored like an opera, Rivera's sound is full of harpsichord, lone voices, big breathy melodramatic moments.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;On the other side of the Atlantic lies AMC's stellar miniseries &lt;em&gt;Monsieur Spade&lt;/em&gt;, in which Clive Owen plays an older Sam Spade solving a mystery while spending his retirement in rural France after World War II. There, the usual noir trappings are leavened by a distinct sense of melancholy, lonely guitar strains underlining the postwar fragility of its French setting.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;This week, I'm thrilled to have Rivera on to talk about these shows and so much more, from his musical journey with the guitar to his philosophies on which perspective to score from. It's a brilliant chat (maybe one of the best this podcast has ever enjoyed), and I hope you enjoy.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;You can find Carlos Rafael Rivera at his official website &lt;a href="https://carlosrafaelrivera.com/" rev= "en_rl_none"&gt;here&lt;/a&gt;.&lt;/strong&gt;&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;Griselda is currently streaming on Netflix, and Monsieur Spade runs weekly on AMC and AMC+. You can also stream each soundtrack at your music service of choice.&lt;/strong&gt;&lt;/div&gt;</description>

Grammy- and two-time Emmy-winning composer Carlos Rafael Rivera has spent the last decade building moody, complex musical worlds around complicated characters. His earliest prominent work was with regular collaborator Scott Frank on films like A Walk...

Carlos Rafael Rivera (Griselda, Monsieur Spade)

This week, we're catching up with one of the Oscar-shortlisted Best Score nominees -- Anthony Willis' score to Emerald Fennell's lavish, mysterious thriller Saltburn. Fennell's second directorial feature, after Promising Young Woman, is a kind of Brideshead Revisited by way of Tom Ripley and mid-2000s party culture: A mysterious young bloke named Oliver Quick (Barry Keoghan) follows his irrepressible attraction to fellow Oxford pretty-boy Felix (Jacob Elordi) all the way to Felix's palatial mansion, Saltburn. There, he immerses himself in the hedonistic lifestyles of the ultra-rich, all the while hoping to catch a glimmer of Felix's attention -- or does he?   Reuniting with Fennell for his second score with her, composer Anthony Willis crafts a suitably Gothic sound for her idiosyncratic class thriller. Opening with romantic strings, transitioning into classical choir, then electric pianos and additional layers and textures, Willis draws the listener in like one of Oliver's obsessions, before disrupting the film's jagged classicism with rough modern electronic textures and a sense of sweeping orchestral doom.   Today, we talk to Willis about all of that and more, including his longtime collaboration with Fennell and his early life as a chorister at Windsor Castle.   You can find Anthony Willis at his <a href= "https://kraft-engel.com/clients/anthony-willis/" rev= "en_rl_none">official website</a>.   Saltburn is currently available for rental or streaming on Prime Video. You can also listen to the score on your preferred music streaming service courtesy of Milan Records.

<description>&lt;div data-pm-slice="1 1 []" data-en-clipboard="true"&gt;This week, we're catching up with one of the Oscar-shortlisted Best Score nominees -- Anthony Willis' score to Emerald Fennell's lavish, mysterious thriller &lt;em&gt;Saltburn&lt;/em&gt;. Fennell's second directorial feature, after &lt;em&gt;Promising Young Woman&lt;/em&gt;, is a kind of &lt;em&gt;Brideshead Revisited&lt;/em&gt; by way of Tom Ripley and mid-2000s party culture: A mysterious young bloke named Oliver Quick (Barry Keoghan) follows his irrepressible attraction to fellow Oxford pretty-boy Felix (Jacob Elordi) all the way to Felix's palatial mansion, Saltburn. There, he immerses himself in the hedonistic lifestyles of the ultra-rich, all the while hoping to catch a glimmer of Felix's attention -- or does he?&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Reuniting with Fennell for his second score with her, composer Anthony Willis crafts a suitably Gothic sound for her idiosyncratic class thriller. Opening with romantic strings, transitioning into classical choir, then electric pianos and additional layers and textures, Willis draws the listener in like one of Oliver's obsessions, before disrupting the film's jagged classicism with rough modern electronic textures and a sense of sweeping orchestral doom.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;Today, we talk to Willis about all of that and more, including his longtime collaboration with Fennell and his early life as a chorister at Windsor Castle.&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;You can find Anthony Willis at his &lt;a href= "https://kraft-engel.com/clients/anthony-willis/" rev= "en_rl_none"&gt;official website&lt;/a&gt;.&lt;/strong&gt;&lt;/div&gt; &lt;div&gt; &lt;/div&gt; &lt;div&gt;&lt;strong&gt;Saltburn is currently available for rental or streaming on Prime Video. You can also listen to the score on your preferred music streaming service courtesy of Milan Records.&lt;/strong&gt;&lt;/div&gt;</description>

This week, we're catching up with one of the Oscar-shortlisted Best Score nominees -- Anthony Willis' score to Emerald Fennell's lavish, mysterious thriller Saltburn. Fennell's second directorial feature, after Promising Young Woman, is a kind of...

Anthony Willis (Saltburn)

Film and TV critic Clint Worthington (Consequence, RogerEbert.com, The Spool) talks to a new composer every episode about the origins, challenges, and joys of their latest musical scores.

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