Soundtracking With Edith Bowman

When Jon Favreau joined Edith to discuss his remake of The Jungle Book, he revealed that the aspect of the film he was most preoccupied with was the music. Our latest guest Bill Condon says much the same thing about his retelling of a more recent Disney classic, Beauty And The Beast. In Bill's case, it was a potential deal-breaker: he only agreed to direct the project on the condition that the man who composed the original score came on board. That man is Alan Menken, whose Oscar-winning themes for the 1991 animation reverberate loud and clear throughout this live action reboot. We also discuss his work with pre-eminent composer, Carter Burwell, who has collaborated with Bill on several occasions

The mighty Kong has traveled a long way since we first saw him batting away aeroplanes atop the Empire State Building to the melodramatic strains of the great Max Steiner. CGI now rules when it comes to Monster Movies, just as Marcel Delgado's model of the giant ape did the New York skyline back in 1933. But some things in cinema never change - including the way music is used to set an identifiable tone for narrative. In the case of Kong: Skull Island, young American director Jordan Vogt-Roberts has sought to introduce the familiar sonic stylings of the Vietnam War to the traditional thrills and spills of the matinee creature feature - with most entertaining results. During the course of his conversation with Edith you'll hear plenty of musical nods to Apocalypse Now and Good Morning Vietnam - and also discover which Rolling Stones track provided the inspiration for Henry Jackman's score. They also reflect upon Jordan's previous film, The Kings Of Summer, with extracts from composer Ryan Miller's

If one could embody charm, it might very well take the form of James Mangold - an open, warm and intelligent man who also happens to have a proven track record in delivering quite tremendous movies. His latest offering is Logan - a dark, violent and spandex-free addition to the X-Men franchise, which sees Hugh Jackman's Wolverine in the throes of existential crises. Critics love it - in part due to the director's offbeat take on a sometimes formulaic genre. And as we'll discover, offbeat is a word which applies equally to Marco Beltrami's score ... While James doesn't entirely accept the claim himself, his films have been described as eclectic. He's certainly tackled a rich variety of subject matter - from Cop Land to Girl Interrupted and the Oscar-winning Johnny Cash biopic Walk The Line - with scores and soundtracks to boot. Enjoy!

Another week, another Academy Award winner - this time in the shape of Tennessee director Gore Verbinski. Gore secured the Oscar for Rango – a firm family favourite in Edith's house - and has also notched up a string of box office smashes, from Mouse Hunt and The Mexican to The Pirates Of The Caribbean trilogy. As you’d expect from someone ranked as the 10th highest grossing director in the world, he’s also collaborated with some mighty fine composers. On which note, Gore is not the first of our guests to have developed a productive relationship with Hans Zimmer. As well as scoring several of his movies, Hans also offers regular advice on who to hire when he’s not available. Indeed, this applies to Gore’s latest film - the psychological horror A Cure For Wellness. Based on his own nighhtmares, it stars Dane DeHaan, Jason Isaacs and Mia Goth and tells the story of a young American executive who is sent to a mysterious rehabilitation center in the Swiss Alps. As is typical of the genre, music and soun

As Ron Howard observed in one of our previous episodes, Ang Lee is a filmmaker with a quite extraordinary range. He followed the majestic Oscar-winning Crouching Tiger, Hidden Dragon with comic book joyride Hulk - before bringing us Brokeback Mountain, Lust Caution and The Life Of Pi. Such a diverse array of subject matter has very different musical requirements, with Tan Dun, Mychael Danna, Danny Elfman and Alexandre Desplat among the composers he’s worked with. And these collaborations are exactly what we’re here to discuss on Soundtracking – a weekly podcast about screen music with Edith. Ang’s latest movie is Billy Lynn's Long Halftime Walk. Starring young British actor Joe Alwynn in the title role, it tells the story of a soldier returning from Iraq who’s suffering from post-traumatic stress disorder. From the point of view of score, the narrative posed a new set of challenges for the Taiwanese director - given that much of the action unfolds in a sports stadium …

Over the years, there's been many a filmmaker in possession of a sensational record collection. We've spoken to a few on this show - from Andrea Arnold and Richard Linklater to Nicolas Winding Refn and Danny Boyle. But just because you have impeccable taste, doesn't mean you can successfully translate it to the screen. Thankfully, writer / director Mike Mills knows how to enhance a story with sound - as evidenced by his latest movie, 20th Century Women. Set in 1979, it tells the story of a mother who enlists her bohemian friends to help raise her son, and is part-based on his own childhood. Music is central to both the development of narrative and character - with the artists featured all close to Mike's heart. Each selection is inspired by personal experience, from offerings by Siouxsie And The Banshees through The Buzzcocks to Black Flag. Indeed, when it comes to Talking Heads, he even bought the T-Shirt (well, his sister did anyway) ... There are SO many great tunes in here, you'd be a fool to miss i

When you’ve made 5 movies that average over 90 per cent on Rotten Tomatoes, it’s fair to say you’re doing something right in the eyes of the discerning film fan. Writer / director Jeff Nichols has done just that. From his debut Shotgun Stories to Take Shelter, Mud and Midnight Special, he’s proved himself to be a master craftsmen, capable of breathing life into an incredibly diverse range of subjects. His latest offering Loving is no exception. Starring Joel Edgerton and Ruth Negga, it tells the true story of the landmark US court case Loving versus Virginia, which challenged the state laws prohibiting inter-racial marriage. As with all my guests, music is a central feature of Jeff’s work. From the scores provided by his go-to composer David Wingo to the considered placement of pop favourites from his youth, he has more than met the contrasting sonic demands presented by the narratives he’s brought us.

From the very opening sequence of Danny Boyle's debut Shallow Grave - in which the viewer zooms through the streets of Edinburgh to the dark pounding beats of Leftfield - it was clear we were dealing with a filmmaker of great visual flair who understood a thing or two about music too. As if proof were needed, he followed Shallow Grave with Trainspotting and that set of songs - which rank it alongside the likes of Pulp FIction and Lock, Stock ... as one of the defining pop soundtracks of the 1990's. Two decades on and Danny is still blazing a trail. Renton, Sick Boy, Begbie and Spud back - alongside Iggy, Blondie, and one or two artists for the 'T2' generation. In the case of Danny, there's simply too much ground to cover in one show. So, for the time being at least, we focus on his various collaborations with John Murphy, AR Rahman and Rick Smith and Karl Hyde from Underworld - who, of course, had a big musical hand to play in both Trainspotting films ...

As double-bills go on a show such as this, it’s hard to imagine a more relevant combo than the director and composer of La La Land - the film that’s causing quite the song and dance the world over. In our previous episode we had the pleasure of talking to director Damien Chazelle about his musical masterpiece; this time round, it’s all about his composer and great friend, Justin Hurwitz. If you’re new to the show, the format is simple. Each week, Edith speaks to key figures from the world of cinema about the music in their work, with relevant examples of the cues we discuss woven into the discussion. So it is you'll be hearing extracts from Justin’s compositions for Guy And Madeline On A Park Bench, Whiplash and La La Land, all of which he scored for Damien. The pair met in their Freshman year at Harvard, forming a band called Chester French who went on to have considerable success after they went their own way to make movies. But Chester French’s loss has been our gain, with Whiplash and La La Land

If you've had the pleasure of watching Damien Chazelle's breakthrough feature Whiplash, you'll know it's a hard act it is to follow. But follow it he has with La La Land, an utterly beguiling 21st century musical set in the city of angels. Having just landed 7 Golden Globes - including Best Screenplay and actress and actor awards for Emma Stone and Ryan Gosling - it's now been nominated for 11 Baftas. In the case of both Whiplash and La La Land, the music is provided by Damien's old college roommate Justin Hurwitz, who I'm delighted to say joins me next week. You’ll hear plenty of examples from both scores, as well as a spot of West Side Story and Singing In The Rain.

Edith's guest this week is fast establishing a reputation as a filmmaker of wit, originality and imaginative flair. In his short career as a writer / director, John Michael McDonagh has brought us 3 features, all of which have been characterised by taut narrative, black comedy and whip-crack dialogue. First up was The Guard, starring Brendan Gleeson and Don Cheadle, which is officially the most financially successful Irish independent movie of all time. Then came Calvary, a darkly humorous drama about a priest tormented by his community. Now he’s crossed the Atlantic with War On Everyone, another twisted comedy in which Alexander Skarsgård and Michael Peña play a pair of tearaway New Mexico cops. John’s heartfelt passion for music is reflected in the wide variety of artists he’s used in his work. During the course of our conversation, you’ll hear tunes from The Clash, The Fun Loving Criminals, REM, M.O.P and John Denver, among many, many others. We’ll also discuss his collaborations on score with Cale

Edith's first guest of 2017 is Juan Antonio Bayona - or JA for short - which we hope you'll agree seems a most excellent way to start the New Year. Since 2007, the Spanish director has made three critically acclaimed movies - all of which have had, in very different ways, children at the centre of the narrative. First came his superior horror flick The Orphanage, followed by The Impossible, which is about a family caught up in the 2004 tsunami and was inspired by true events. Now he brings us A Monster Calls. Based on the award winning fantasy novel by Patrick Ness, it tells the story of a boy who comes to terms with the terminal illness of his mother with the help of a humanoid tree. It stars Sigourney Weaver, Felicity Jones, Toby Kebbell, Lewis MacDougall and Liam Neeson, and is an incredibly powerful cinematic experience. As with all JA's films, A Monster Calls is scored by Fernando Velazquez, while his foray into television with Penny Dreadful saw him collaborate with Polish composer, Abel Korze

In days gone by, it might have been considered a backward step to go from adapting Shakespeare to adapting a video game. Not anymore – with this week’s guest Justin Kurzel having done just that. Following his hugely well-received take on Macbeth, the Australian director has now turned his attention to Assassin’s Creed - a movie based on the video game franchise that has sold well over 100 million copies worldwide. Both projects are scored by his brother Jed, and both star one of the actors of the moment, Michael Fassbender. In the 21st Century, our brief here on Soundtracking applies as much to games as it does to film. Not only is the Assassin’s Creed series fully scored by the likes of Jesper Kyd and Winifred Phillips, but one of the trailers features a cover of Everybody Wants To Rule The World by New Zealand vocal sensation, Lorde. They’re more than just hackathons, too - with big ideas about morality, science, history and fate driving the narrative. Plenty, then, for Justin to draw inspiration from

In cinematic terms, it may very well just be the greatest story ever told. With its ground-breaking special effects, unforgettable cast of characters and universal themes, the original Star Wars trilogy has inspired and delighted film goers ever since A New Hope blew everyone away in 1977. Among those to have felt its force is Gareth Edwards - the man charged with directing the latest addition to the franchise, Rogue One. And it goes without saying that music is central to the impact of George Lucas’s masterpiece – as are the iconic sound effects. John Williams’s score is one of the most famous ever written, while we all mimicked the noise of a Tie-Fighter or lightsaber when we played with the toys as kids. Gareth was only too aware of this sonic legacy, and reveals how he and composer Michael Giacchino acknowledged it in Rogue One. We’ll also explore his collaborations with Jon Hopkins and Alexandre Desplat on Monsters and Godzilla respectively, with plenty of examples from both scores woven into the

Having earned an Oscar nomination for his short film Cashback in 2004, British director Sean Ellis has since caught the eye with a stylistic approach that is urgent, visceral, and intense. With the help of composers Guy Farley and Robin Foster, he's delivered soundscapes to match. Following its run at the Oscar, Sean developed Cashback into a full-length feature before bringing us Anglo-French horror The Broken, both of which were scored by Guy. Then came the Philippine-set crime drama Metro Manila, which won numerous awards. His latest project is Anthropoid, which tells the true story of an unlikely assassination attempt on Hitler's second in command Reinhard Heydric - the so-called Butcher of Prague For these two most recent ventures, Sean predominantly collaborated with Robin, who we must thank profusely for his assistance in putting this episode together. Apart from anything else, we'd have struggled to identify the specific Bartok violin sonata that features in a key scene in Anthropoid without hi

You have to go a long way to find someone who doesn't like Kermit, Miss Piggy, Fozzie and the gang - or Alice of Wonderland fame, for that matter. With this in mind, it's a great pleasure to welcome James Bobin into the Soundtracking family. Not only has James directed two Muppet movies and steered Alice on a recent outing through the Looking Glass, he's played a very significant hand in a couple more pop-cultural institutions too. For having helped Sasha Baron Cohen create Ali G, Borat and Bruno, he then teamed up with Jemaine Clement and Bret McKenzie to bring the wonderful musical comedy Flight Of The Conchords to our screens. Indeed, Bret subsequently lent his expertise to both of James' Muppet movies. We'll be playing plenty of tunes from these films throughout the course of the conversation, as well as some classic Conchords. We also have the joys of hearing excerpts of Danny Elfman’s majestic score for Alice Through The Looking Glass - and a Strauss polka that was all the rage in the 1870s.

When you're invited to direct a movie adaptation involving one of the most-loved literary creations the world has ever known, you can be pretty certain you won't get a second chance if you mess it up. Thankfully, that's not a fate that befell David Yates. Not only did David take charge of the last four Harry Potter films, he was also asked to make JK Rowling's official spin-off Fantastic Beasts And Where To Find Them, which has been greeted with hugely positive reviews. With the budgets attached to the Potter franchise, it is of course possible to secure the services of the best composers in the world. David has taken full advantage of this privilege, variously employing Nicholas Hooper, Alexandre Desplat and James Newton Howard. He also collaborated with Rupert Gregson-WIlliams on The Legend Of Tarzan. You'll hear plenty of their work throughout the conversation, as well as that of John Williams - who provided scores for the first three Potters. We also find out a little bit about his earlier work, and

Routinely cited as one of the funniest movies of all-time, This Is Spinal Tap is much imitated, oft-quoted, and as fresh now as it was when it first appeared in 1984. If you haven't seen it, you must buy it immediately. Directed by Rob Reiner, it takes the form of documentary following a shambolic heavy metal band as they tour North America. Though the band is, of course, fictional, their songs are very real, and very funny. One of the men behind both these songs and the razor-sharp script is writer, actor, director and musician Christopher Guest. As we'll discover, Christopher's musical background stood him in good stead for Tap, and also A Mighty Wind, his affectionate parody of the folk world. His latest directorial project is Mascots, in which he appears alongside Parker Posey, Jane Lynch, Chris O'Dowd and Ed Begley Junior among many others. As with all his films, there's no traditional score - with the tunes the mascots perform to provided by CJ Vanston. But he is a fan of film music, and in p

As subject matter goes, it doesn't get much more rock and roll than Joy Division, New Order, The Happy Mondays, Ian Dury, The Stone Roses, Coldplay and Oasis. But, in one way or another, all these artists have featured in the work of British director Mat Whitecross. As we'll discover, Mat got his big break from Michael Winterbottom while working as a runner on the set 24 Hour Party People, which tells the story of Tony Wilson and Factory Records. The pair went on to direct Road To Gauntanomo together, before he flew solo on the Ian Dury biopic Sex And Drugs And Rock And Roll and Stone Roses-inspired comedy, Spike Island. Coldplay are among his illustrious list of music video clients, while he's also worked with composer Ilan Eshkeri and Tim Wheeler of Ash on more than one project. Indeed, Ilan and Tim have very kindly supplied us with some of their favourite compositions for their film and TV work with Mat, which you'll hear throughout the show. And as if you needed more, there are excerpts from Rael J

In his relatively short career, writer and director Derek Cianfrance has produced a body of work that has not only been critically lauded, but also wildly contrasting in its sonic demands. For Blue Valentine, his celebrated breakthrough feature, he collaborated with American folk-rockers Grizzly Bear, who provided him with a dreamy hybrid of source music and score. He then worked with Mike Patton of Faith No More, Mr Bungle and Fantomas on The Place Beyond The Pines, before securing the services of composer Alexandre Desplat for his latest film, The Light Between Oceans. Each project had very different musical requirements, which Derek outlines in fascinating detail here. He's a great raconteur, too - with splendid anecdotes about his lifelong obsession with Mike Patton and the sneaky way he got Ryan Gosling and Michelle Williams to sing and dance for him in Blue Valentine. Expect plenty of Alexandre's score for The Light Between Oceans, Mike Patton's diverse back catalogue, Grizzly Bear and, of course,