The Supergirl reviews/reactions aren’t too surprising given that the film publicly switched between three different composers Not a comment on the score itself (no clue how it is), but it raises the likelihood of not being sure what the film needed, changing tones, heavy studio involvement, etc

Over the last week I've seen a number of comments about TikTok's affect on the extratextual/metatextual meaning of songs: the platform directly shapes its users view of the meaning that those songs hold, indirectly shaping the meaning that subsequent uses of those songs has

The Boroughs came out last month, I did an Interview on it a few days ago, and it’s already canceled. This ecosystem is insane, what are we doing here

One of my favorite things with this interview is spending the whole time building a good rapport and then cashing it all in at the very end with a stupid, probing question that made Cristo spit out his drink

One of my favorite composers, Cristobal Tapia de Veer, joins me to chat about Lord of the Flies, heavy metal, inflicting violence, and all the secrets and rumors behind The White Lotus Listen to my chat with Cristo here (tho by now you know how to get pods): thefilmscorer.com/an-interview...

Can't wait to dig into Blood Incantation's score for their documentary All Gates Open. Expect it'll be more of their spacey vibe rather than death metal (still dying to hear some harsher sounds/styles in scoring)

Didn't expect Off Campus to be one of the few shows heavily featuring a (prospective) film composer

Great interview with one of the most fascinating film composers at the moment. Thanks to @thefilmscorer.bsky.social!

The great Colin Stetson joins me to herald in season 6 of The Film Scorer. While we'd planned to really dig into his score for the Netflix horror/thriller series Something Very Bad Is Going to Happen, we end up focusing on human experience and connection in music and other arts

In the Season 6 premiere, Colin Stetson joins me to talk about his new score Something Very Bad Is Going to Happen, improvisational collaborations, the role of composer-as-emotional-antenna, and the necessity of art imbued with "real and honest human experience" thefilmscorer.com/an-interview...

Anyone know if the music in the trailer for The Archivist is from Chlöe Herington's score? There's this little woodwind motif in there that really channels a sort of folk primitivism perfect for the subject matter www.youtube.com/watch?v=KDi5...

Can’t believe they got the legendary Carl Cox to contribute some tracks to the Andy Serkis fart comedy Animal Farm

Really digging David Fleming’s score for Widow’s Bay, by leaning into tense, uneasy ambience the overall dread gets ratcheted up and the comedic aspects become less obvious and more natural (and therefore even funnier). The end credit cues are major highlights

“Donaggio’s achingly emotional soundtrack guides the film in a way music hasn’t since the early silents, or the heyday of Powell & Pressburger, and even, at a push, the experimental films of Kenneth Anger.” deadline.com/2026/05/her-...

John Carpenter just announced Cathedral, his debut graphic novel and accompanying metal album, promising hallucinatory dread and darkness. Let’s go

Damn the two Jon Brion tracks featured in One Battle After Another were actually written and recorded while making Punch Drunk Love for a film idea PTA had about a bounty hunter in the desert

They’re finally reuniting, James Newton Howard confirmed he’s scored M. Night Shyamalan’s new film ‘Remain’, their first collaboration in 13 years

Christopher Nolan apparently asked Ludwig Göransson not to use an orchestra on The Odyssey (to differentiate it from classic epics/swords and sandals flicks), to which he replied “It’s not like the orchestra existed back then. It was a challenge and also an opening to try to make something unique.”

This is such a bizarre list of the best films of the century - it’s framed as a definitive list, sort of hedges by constant references to “outsider” film composers, yet still has scores by traditional composers while omitting tons of major works crackmagazine.net/article/list...

“Is Euphoria really Euphoria without Labrinth?” The reaction to Euphoria without Labrinth has been pretty brutal, and I’m expecting something similar when the next season of White Lotus drops without Cristo’s score

With all the discourse around Mortal Kombat II, I haven’t heard anything about the score. Curious how it is, since it was pretty scaled back and barely referenced the games’ music in the first. I’m assuming they went full maximalism this time around

Season 6 is officially a go; two interviews down (with one rare repeat guest), ~25 (?) to go

It rocks that Eric Andre made an film score album for films that don't exist, but that trap of those types of albums is that they'll usually just feel like a compilation of disparate tracks; each track works on its own, but there's no cohesive listening experience

The gears are starting to turn on season 6 of The Film Scorer podcast, coming soon…

Was talking with my uncle about Buck Sanders on Tuesday (they met in the mid-90s LA rock scene) and just realized that the score for Scream 7 not only hasn’t been released, but apparently there wasn’t even a label lined up till recently. How’s that happen?

More shakeup on the DC score front - after David Fleming was brought in as a last-minute co-composer on Superman (alongside John Murphy), he’s now reportedly the sole composer for Man of Tomorrow

Michael Nyman’s score for the sci-fi classic Gattaca finally gets its digital release today

Apparently Labrinth's score won't be included at all in the new season of Euphoria, with Hans Zimmer serving as the sole composer instead. Not too surprising given the issues he's had with Euphoria (assumedly Sam Levinson) and the label.

While I’m bummed that neither Cliff Martinez nor any of Refn’s other typical music collaborators are scoring Her Private Hell, I am immensely intrigued by what Pino Donaggio’s score will sound like (and whether that means we’ll get a very different Refn film)

One of the funniest Oscar bits is Nino Rota's score for The Godfather getting nominated then disqualified after it came out that the Love Theme was copied from his score for Fortunella 15 years earlier, then him winning the Oscar for Part II despite that theme still being in there... Side by side:

Have seen some people use the music in the trailer for the new Harry Potter series to say John Williams is better than Zimmer, but the music isn’t even by Zimmer and co (while the first film’s trailer uses Hedwig’s theme). Bad comparison, but shows the power of good music…

Finally - the definitive best (aka my favorite) film scores of 2025, featuring scores by Daniel Pemberton, Young Fathers, Michael Giacchino, and plenty others. Read/listen below or wherever you're getting pods thefilmscorer.com/the-best-fil...

Crime 101 has a really decent score from Blanck Mass, the interesting sonic palette alone makes the action/chase sequences so much livelier and more intense compared to more stereotypical action scoring you often here.

As much as I like that awards season brings some attention to scores, not all of it is good. Sinners being glorified temp music? Come on now, what are we doing here

Congratulations to Ludwig Göransson for winning the Best Original Score Oscar for Sinners!

First Cristobal Tapia de Veer has a falling out on White Lotus and now it looks like the same is happening with Labrinth and Euphoria. Really unusual to see these issues get so public - something's wrong on these HBO shows...

Drive, Challengers, . . . Marty Supreme? Does the Academy's recent obsession with electronic scores mean Daniel Lopatin will take home the Best Original Score Oscar for Marty Supreme? Sam Podgurny explores the subject. thefilmscorer.com/does-the-aca...

Claudia Sarne has now reportedly replaced Junkie XL as composer for Supergirl (after Junkie XL previously replaced Ramin Djawadi). Not good!

Some militaristic, industrial drumming a la Terminator with a tragically heroic theme on top The Big Heat (1988) by Lowell Lo, Ta-Yu Lo, and David Wu

With Schwarzenegger confirming that a King Conan movie is in the works, who do you want to score it?

Don’t forget to celebrate the waning hours of Bandcamp Friday and pick up some tunes from your favorite artists

Every year I usually include one or two dumb picks on my "best" score of the year countdown, and I'm glad that this year will be no different

Surprised I haven't seen any analysis on Young Fathers' use of the "Prelude" from Wagner's Das Rheingold in their score for 28 Years Later (the track "Causeway"). Lot to be said for thematic parallels in the creation of the earth, subsequent loss of innocence, etc.

Somehow never seen this one before

I've seen a ton of reporting about Hans Zimmer scoring the new series All the Sinners Bleed (based on S.A. Cosby’s novel) for Netflix, but he's explicitly co-composing it with Bleeding Fingers. A real shame that all these major publications/sites, including Netflix's social media, are omitting that

I talked a bit about the scores nominated for the Oscars (and, in turn, the BAFTAs), appreciating the celebration of music and showcase of breadth of styles/approaches thefilmscorer.podbean.com/e/awards-sea...

The latest Criterion discourse is another reminder that some online film fans really want to be sports fans, this time arguing about hall of fame inductions

Congratulations to Ludwig Göransson for winning the Best Original Score BAFTA for Sinners!

Funny for Jonny Greenwood to score a film like One Battle After Another and then say music and art are beyond politics