2:21
Mike Lang on playing with Frank Zappa for the first time
Scoring Arts (Academy of Scoring Arts)
1:20
Mike Lang on working on Frank Zappa's Lumpy Gravy project
1:48
Mike Lang on first takes and preparation
0:56
Cliff Eidelman on forming a good relationship with the director
2:06
Cliff Eidelman on working with temp scores
2:05
How does Cliff Eidelman start a film project?
1:43
Penka Kouneva on why composers should prepare versions, mixes, and stems
1:15
Penka Kouneva on writing themes for games
9:57
Siddhartha Khosla interview highlights, composer and songwriter of NBC's THIS IS US
1:02
How Dan Fogelman invited Siddhartha Khosla to write the music for THIS IS US
1:44
How much of the music of THIS IS US is written to picture?
1:42
How Siddhartha Khosla created the sound for THIS IS US
3:11
How THIS IS US moves between time periods
1:28
Siddhartha Khosla on his approach to scoring THIS IS US
1:34
The subtlety of scoring THIS IS US
2:47
How composers can gain experience and community
0:40
How composers can inspire players
2:59
Processes for composing and orchestrating
1:03
Writing for different orchestras
1:26
Michael Abels on the role of music in Get Out
Michael Abels on finding the voice and language for Get Out
1:10
The role of voices in the score to Get Out
0:54
Michael Abels on music for action and emotion
What makes an effective coda?
0:47
Kevin Kiner on having self confidence without arrogance
0:35
Kevin Kiner on finding his voice
1:36
Introducing Steve Barden and his apps
1:25
How Tyler Bates builds and maintains his team
Tyler Bates on maintaining artistry through editorial decisions
0:38
Tyler Bates on team chemistry
1:11
Tyler Bates on the importance of being creatively satisfied
3:03
John Altman meets Jule Styne
2:36
How the Goldeneye Tank Chase scene was constructed
2:39
The extraordinary story of Bjork's "It's Oh So Quiet"
1:16
John Altman on writing music for comedy
4:30
How Garry Schyman got his start
The interplay between music and sound effects in games
Garry Schyman shares his influences
0:58
Why didn't Garry Schyman use violas in his early scores?
2:34
Jason Graves on a unique sampling session
1:55
Jason Graves on the music for Dead Space
2:23
How Jason Graves got started composing for games
How Jason Graves approaches a new project
0:42
A tip on doing multiple sessions
Cip on playing in the original pit for West Side Story
1:00
Cip on Frank Sinatra
Cip on Tony Curtis in Some Like It Hot
1:53
Korngold's writing process for Robin Hood
1:29
Using preorchestrated samples
0:52
The honesty of Erich Korngold's music
Adrienne Albert on working with Gunther Schuller
1:19
Adrienne Albert on her relationship with Stravinsky
0:51
Adrienne Albert on her father's musical role
0:34
On recording with Stravinsky
0:59
Adapting to the future in the music business
1:49
The role of music in culture
4:06
You can only change the world you can touch
4:10
Gordy Haab on what makes John Williams's Star Wars writing unique
Gordy Haab Introduction
0:57
Gordy Haab on when all else fails, what does a composer do?
2:09
Paul Lipson on the importance of finding your own voice
6:56
Paul Lipson on building the composing team for Halo Wars 2
2:48
The musical heritage of Halo
0:49
Why composers should A.B.M. (Always Be Modulating)
4:44
Thematic development in Joe Kraemer's Rogue Nation score
1:18
Why Carlo Siliotto hates the term “ethnic music”
3:24
Carlo Siliotto on his roots as a folk musician in Italy
Carlo Siliotto on the unique sounds and instruments from Nomad
1:12
Carlo Siliotto on being inspired by filmmakers
1:33
The role of music in The Death of Stalin
The beauty of recording in a large room
The influence of Soviet music in The Death of Stalin
2:49
Christopher Willis on adapting to new styles of writing
2:20
How Christopher Willis starts a cue with a piano mockup
Does the FOX organ have dynamics?
3:39
Emil Richards on how recording sessions were his greatest teacher
Emil Richards talks about being in a Frank Sinatra session
4:00
Emil Richards on touring with Frank Sinatra
2:13
Bruce Hornsby's influence on pianists
2:51
On working with comedian Martin Short
1:59
A big band arranging textbook recommendation
7:41
Bernie Dresel talks about his new record Bern Bern Bern
Scott Healy and Bernie Dresel on "Got Groove"
2:32
Paul Peress on leading as a drummer
Austin Wintory's career advice and how to demo
2:50
Austin Wintory on how the first Banner Saga began
6:27
Austin Wintory on conceiving the sound for the Banner Saga
1:39
How John Corigliano inspired Austin Wintory with wind ensemble writing
How Kris Bowers uses music throughout Green Book
First impressions of Don Shirley (Mahershala Ali) in Green Book
1:13
Green Book: the uniqueness of writing for piano, cello, and double bass
1:27
How Kris Bowers began writing cues for Green Book
0:45
How Mahershala Ali learned to play piano for Green Book
1:32
Dvorak's place in American music history
2:45
Kris Bowers on a valuable composition lesson from Terence Blanchard
Kris Bowers on the power of silence in music
1:24
Kris Bowers on recording the score for Green Book
2:17
An example of creative sound design with Inon Zur
Inon Zur on the French Horn
Inon Zur on crafting melodies
2:22
The psychology of writing demos for directors
2:30
Apprenticing for other composers
Should you write a melody under dialogue?
1:35
The purpose of a mockup
2:11
How to research musical influences from other cultures
1:06
John Ottman on the opening sequence to Kiss Kiss Bang Bang
The life lesson John Ottman learned from Cable Guy
3:29
Does John Ottman edit films with his own temp music?
0:55
Bohemian Rhapsody and the Who Wants To Live Forever montage
1:52
John Ottman on the wolverine fight from X Men 2
John Ottman on different approaches to scoring in Valkyrie
Jeff Beal on creating sound design as score in House of Cards
Jeff Beal on avoiding predictability in music
1:56
Marcelo Zarvos on using multiple tempos in Ray Donovan
1:08
Ray Donovan and the "less is more" approach to music scoring
4:18
Marcelo Zarvos on how to keep underscores interesting
1:57
Bear McCreary on working with Mark Hamill on Child's Play
3:17
Bear McCreary and his work on Battlestar Galactica
2:54
Bear McCreary on Rebel in the Rye and Professor and the Madman
4:07
Bear McCreary on Da Vinci's Demons and Black Sails
Jeff Russo on how songwriting for Tonic morphed into scoring
3:08
Jeff Russo on the art of communication with fellow creatives
Jeff Russo on scoring Star Trek: Discovery
2:18
Michael Abels and the opening march to US
3:51
Michael Abels on the Pas de Deux at the end of US
Joshua Moshier on the influence of Carl Stalling
2:56
The approach of not writing to specific picture
Joshua Moshier on whether he records all instruments simultaneously
3:52
Joshua Moshier on his work on FX's show Baskets
1:47:36
Fans of Film Music with John Powell (full video)
1:38
What advice did John Powell get from Patrick Doyle?
John Powell on his use of choir in his film scores
1:09
John Powell lists composers that every composer should listen to
John Powell reveals his most personal score
John Powell on why there is a kazoo orchestra in Chicken Run
John Powell's advice for composer in a post-pandemic world
Did John Powell enter the Spitfire Westworld competition?
John Powell on establishing trust with a director
3:09
John Powell on when John Williams walks into the room...
2:14:35
Westworld Scoring Competition: Winners Roundtable
8:06
Jermaine Stegall on how he began working on the first scene in Coming 2 America
4:13
Coloring orchestration with woodwinds in Coming 2 America
Conceptualizing the sound of Coming 2 America, with composer Jermaine Stegall
Kevin Kiner's advice to aspiring composers
How to pace a scene with dialogue
3:21
What is the funniest instrument?
Developing the theme music for Ginny & Georgia
5:22
The many varied music styles in Ginny & Georgia
Tim Davies on using guitar to create heavy textures in Maya and the Three
Tim Davies shows the "Journey" theme from Maya and the Three
1:41
A mariachi trumpet in Maya and the Three
A look at the Pro Tools session for Maya and the Three
The hybrid mix approach on the score to Maya and the Three
