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Composer Laura Karpman joins Score to talk about her work on the Oscar-nominated score for AMERICAN FICTION, breaking down how jazz informed a story rich in satire and wit to give it a unique musical edge and voice intertwined with characters. Then, she discusses her path from likely music professor into at one point being one of the only women working in film and TV composing. Plus, Robert shares the personal influence Thelonious Monk had on his own life and love for jazz.

Composer David Fleming (The Last of Us, Blue Planet II) talks about his inventive score for Prime Video’s new Mr. & Mrs. Smith, working with Donald Glover, coming up through the Remote Control composer system with Atli Orvarsson, Steve Jablonsky and Hans Zimmer, and why the new Jim Henson documentary will melt everyone’s hearts. Interview by Kenny Holmes, Matt Schrader and Robert Kraft.

The Miami-based Carlos Rafael Rivera with two series releasing now (Griselda, Monsieur Spade) joins to talk about his massive breakout with The Queen’s Gambit, followed by Hacks and Lessons in Chemistry. Why Sofia Vergara's dramatic turn as a drug kingpin in Miami deserved an operative approach. How he manages to maintain his Miami location for an industry that is largely located in Los Angeles. Plus, he revisits his 2017 adventure to go see Score: A Film Music Documentary in New York, and how he’s brought some of his teaching skills (and musicians) into his music work. Before that, Kenny and Matt break down the Oscar nominees, as Robert joins a few minutes later to explain why Oppenheimer’s score (by Ludwig Gorannsson) is so groundbreakingly original.

One of the original members of the indie band Arcade Fire, Richard Reed Parry (THE IRON CLAW, EILEEN) discusses his jump into film scoring, the importance of finding “mojo” and “vibe,” and how the wrestling biopic The Iron Claw nearly stumped him musically — until he unlocked the rich, layered sound that carries the film. How Spike Jonze’s film “Her” prepared him for the next stage in his career, and why he believes it’s important to be as musically dynamic with other musicians as possible.

Geoff Zanelli makes his long-awaited Score debut after one of Netflix’s most watched animated films of all-time, the Adam Sandler-produced LEO. In this episode, Kenny and Robert discuss the long-awaited arrival of MAESTRO, the Leonard Bernstein biopic, which we discussed on the 2nd episode of SCORE: THE PODCAST back when it was to be directed by Spielberg. Then, Robert and Geoff reminisce about drinking absinthe in Paris, before jumping into the challenge of making Adam Sandler laugh, and the paradox of writing “funny” music in animation. Plus, Geoff talks about his path from music school to being an intern at Hans Zimmer’s Remote Control Productions in the early (Lion King era) 1990s, sitting in on Alan Meyerson mixes, and getting his first opportunities while working for John Powell on the movie Face/Off. 

Composer of the new historical epic NAPOLEON Martin Phipps joins Score for the first time! How he located a piano once owned by Napoleon himself for the score. Plus, his path to film and television music, his work on Peaky Blinders, Black Mirror and The Crown, and establishing trust with the great Ridley Scott. How Martin overcame his early doubts about musical approach for NAPOLEON to meet its spectacular giant sets, and musically signaling Napoleon as an ambitious outsider rising to power. Interview by Robert Kraft and Kenny Holmes.

Score season 5 returns with composer James Newton Howard, who currently has four projects releasing this month, including the Hunger Games prequel that he says asked him not to use synths (“they haven’t been invented yet”). Plus, how working with Hans Zimmer helped pull him out of a period of depression, when to fight for your musical opinion, and why he likes the rush of being asked to “save” blockbuster films in the final weeks before release. Interviewed by Robert Kraft and Matt Schrader.

Live podcast recording with composer Colin Stetson from Film Fest Gent and the World Soundtrack Awards in Belgium. Composer and musician Colin Stetson is a nominee for the WSA Discovery of the Year Award, and sits down with Robert Kraft to talk about how he keeps his music fresh, his musical mind healthy and his performing career exciting. They also discuss his recent work, including THE MENU and HEREDITARY. Recorded on location by Film Fest Gent in front of a live audience in October 2023.

Grammy-nominated and two-time BAFTA-winning composer Austin Wintory returns to SCORE for a special episode with SCORE's Robert Kraft. Austin breaks down plans for the game music segment he's curating for this year's World Soundtrack Awards in October, and explains working on games for people who don’t know yet they love games.

Academy Award-winning composer, producer, and multi-instrumentalist Gustavo Santaolalla joins Score: The Podcast for a lively conversation about the phenomenon his music helped create in The Last of Us, and why it's different than any of his other work. Plus, writing the score to Brokeback Mountain prior to anything being filmed, how the records he made with the band Arco Iris (at age 18) become a blueprint for his career, and how he put the instrument "ronroco" on the map. Gustavo also shares details about his upcoming projects, including a performance in October at the World Soundtrack Awards in Ghent, Belgium, where he will be with our own Robert Kraft.

In this special summer episode, Daniel Pemberton, composer of Spider-Man: Across The Spider-Verse, Daniel discusses his unique approach to the hit sequel's postmodern score, the success he’s had since his last appearance on Score: The Podcast — including SLOUGH HOUSE and The Trial of the Chicago 7 — and details about the upcoming tour of his Spider-Verse score, live to picture! Interview by Robert Kraft.

In this special pre-Oscars episode of Score: The Podcast, Oscar-nominated composer Carter Burwell speaks with Robert Kraft about his latest score for The Banshees of Inisherin. Will his third nomination be the charm? Carter talks about meeting the other nominees at the Academy luncheon, recording at Abbey Road, and working with directors.