Soundtracking with Edith Bowman

Soundtracking with Edith Bowman

United Kingdom

In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests are woven amongst the interview and used alongside clips from their films.


Episode 48: Sofia Coppola On The Music Of The Beguiled, Lost In Translation And The Virgin Suicides  

When we originally conceived the idea of a show about film music, one of the first names on our guest wishlist was Sofia Coppola. And we finally got our girl - with the supremely gifted writer / director joining Edith on the release of The Beguiled, which won her the Palm D'Or at Cannes. Sofia's pedigree is impeccable. Few directors in the history of cinema have used music more effectively than her father - who instilled in her from a young age a deep understanding of its potential. This has been reflected in her own work - from the anachronistic punk tracks she deployed in period drama Marie Antoinette to the dreamy electronica that so perfectly fitted the mood of Lost In Translation. Playing now from that film is Alone in Kyoto by Air, who would later provide the score for The Virgin Suicides. She's also married to Thomas Mars form Phoenix, who composed what little score there is for The Beguiled.

Preview: Sofia Coppola On Air  

Ahead of our next episode, Sofia Coppola recalls the chance discovery of Air's Premiers Symptômes in a London record store, which ultimately led to them scoring The Virgin Suicides. The full episode is out on Friday 14th July, coinciding with the release of The Beguiled (hence the reason we've skipped a week).

Episode 47: Edgar Wright On The Music Of Baby Driver  

He's back! Having joined us to reflect upon his career to date in Episode 34, Edgar Wright returns to concentrate on his latest project Baby Driver, which has received widespread critical acclaim as it wows cinema-goers around the world. The film tells the story of young getaway driver Baby, who uses music to calm his nerves in the face of chronic tinnitus. As such, he's listening to his iPod throughout much of the narrative. It's an audacious premise which - while posing technical challenges - also gave Edgar the opportunity to share a wealth of sonic gems from his record collection. With 35 tunes in Baby Driver, there's certainly plenty to discuss - from the specific Jon Spencer track that inspired the movie 20 years ago to the structural delights of Barry White, Queen and Focus. It also features a personal favourite of Edith's, which seemed as good a place as any to start the conversation ...

Preview: The Return Of Edgar Wright  

Ahead of Edith's second installment of Soundtracking with the brilliant Edgar Wright, the director makes a confession about what happened to the vinyl collection that features in his latest film Baby Driver after shooting had finished. The full episode is out on Friday 30th June - and includes a comprehensive breakdown of why Edgar chose many of the 35 tracks in the movie.

Episode 46: Composer Nicholas Britell on The Music Of Moonlight, Seven Years A Slave & Vangelis  

One of the surprise cinematic hits of 2016 was the heart-wrenching coming-of-age drama Moonlight, which of course won Best Picture at this year's Oscars in unforgettable circumstances. Written and directed by Barry Jenkins, Moonlight presents 3 stages in the life of the main character Chiron as he struggles to deal with his sexuality and challenging social circumstances. It was beautifully scored by Nicholas Britell, who we're delighted to say is Edith's latest guest on Soundtracking - a weekly podcast about screen music. On the face of it, Nicholas's compositions follow orchestral conventions. Scratch beneath the surface, however, and one discovers all sorts of sonic tricks - including a technique borrowed from hip-hop called Chopped & Screwed, in which the original piece of music is slowed down, bent and overlaid to create something that sounds altogether different. . Plenty, then, for Edith and Nicholas To Discuss to discuss ...

Preview: Moonlight Composer Nicholas Britell On Using The Technique Known As 'Chopped & Screwed'  

Ahead of Edith's next episode, Nicholas Britell explains the thinking behind using a method associated with hip-hop on his classical score for the Oscar-winning Moonlight. Chopped & Screwed developed in the Houston hip hop scene in the early 1990s. It involves slowing the tempo down of the original piece, skipping beats, record scratching and affecting portions of the music to make a "chopped-up" version. This preview clip is typical of the insights Nicholas provides on the process behind scoring a movie - all articulated in terms that even the musically illiterate can understand. The full episode is out on Friday 23rd June.

Episode 45: Nick Broomfield On Whitney Houston, Kurt Cobain & Courtney Love  

There have been many great documentary makers over the years, but of those at work today one of the undoubted bosses is Nick Broomfield. Often controversial, always challenging, Nick has covered myriad subjects - from serial killer Aileen Wuornos and Hollywood madam Heidi Fleiss to Afrikaner nationalist Eugene Terre Blanche. He's perhaps best known for Kurt & Courtney, an incendiary investigation into the events surrounding Cobain's death - which Love was none too happy about. We do, of course, hear plenty more about that during the conversation. Now normally, we play relevant musical extracts throughout the entirety of the conversation, but given the nature of Nick's work, it's a more conventional interview on this occasion. But there's still plenty of music to discuss - not least because his latest project Whitney: Can I Be Me is all about Whitney Houston, who was found dead in a hotel room in 2012. Made in collaboration with filmmaker Rudi Dolezal, Can I Be Me is scored by Nick Laird-Clowse (pron: Close), so it's his cues you hear we discuss Nick's thoughts on the troubled superstar.

Preview: Documentary Director Nick Broomfield On Courtney Love  

Ahead of our next episode, Nick Broomfield shares an absolutely brilliant story about Courtney Love, who was famously none-too-pleased with his documentary Kurt & Courtney. It's well worth a listen. As we've only just received the score for his latest film Whitney: Can I Be Me, the full episode will be released on Sunday 18th June. Rest assured, it features plenty more yarns ...

Episode 44: Alice Lowe On The Weird & Wonderful Sounds Of Prevenge, Delia Derbyshire and David Lynch  

Edith's latest guest is an unassuming delight - still early in her career but surely destined for great things (of which she's already achieved a fair few). Alice Lowe is actor, writer and now director, who has appeared in a host of critically acclaimed TV shows and films - including Ben Wheatley's Sightseers, which she co-wrote. Her mainstream directorial debut Prevenge is a black comedy about a pregnant woman who believes she is receiving murderous instruction from her unborn child. Alice enlisted electronic duo Toydrum to compose the score for the movie - with the pair delivering a suitably unsettling suite that reflects protagonist Ruth's psychopathic urges. We also hear about her love of Delia Derbyshire, David Lynch and the one and only Nik Kershaw.

Episode 43: Director David Michod On The Music Of War Machine, Animal Kingdom & The Rover  

One hardly needs an excuse to discuss the work of Nick Cave and Warren Ellis, but it's always good to have one anyway. Australian director David Michod has employed the services of the ever-reliable duo for his latest project War Machine, which is exclusively available to watch on Netflix. It is a staggering score, of which you can hear plenty during Edith's conversation with David. They also discuss Antony Partos's contributions to Animal Kingdom and The Rover, which are equally magnificent.

Preview: David Michod On Nick Cave & Warren Ellis's Score For War Machine  

Ahead of our next episode, the Australian director tells Edith what it was like to collaborate with Nick and Warren on the score for his Netflix exclusive, War Machine. It's a truly staggering score, of which you'll hear plenty more when the full episode is released on Friday 2nd June.

Episode 42: Guy Ritchie On The Music Of King Arthur, Snatch & The Man From U.N.C.L.E  

Whatever you think about the Guy Ritchie canon, it's hard to dispute his flair for combining the visual with the sonic. From Lock, Stock ... and Snatch to Sherlock Holmes and The Man From UNCLE, the musical elements of his films often drive the narrative - through his ingenious use of needle-drops and bold score. Indeed, when it comes to the latter, he's collaborated with the great Hans Zimmer on more than one occasion, of which more during the conversation. His latest movie is King Arthur: Legend Of The Sword. Scored by Daniel Pemberton - who worked on The Man From UNCLE too - it also features British artist Sam Lee. As we'll hear, both rose to Guy's challenge of using the timeless tropes of folk music to create something at once medieval and modern. Guy is on typically mischievous form & we very much hope you enjoy the banter!

Preview: Guy Ritchie Sings!  

Ahead of our next episode, the Legend Of The Sword director gives us his rendition of Rocky Road To Dublin during a conversation about folk musician Sam Lee and the traditions surrounding the genre. The full episode is out on Friday 26th May and features further reflections on King Arthur, The Man From U.N.C.L.E., Snatch and other films.

Episode 41: Director John Madden On The Music Of Max Richter, Thomas Newman & Stephen Warbeck  

Over the course of the last twenty odd years, British director John Madden has brought us a string of critically acclaimed films which, pleasingly, have tended to do rather well at the box office too. Indeed, Shakespeare in Love not only landed seven Oscars, but also returned a tidy proft of over 250 million dollars. And as we'll discover, it's John's view that you can make a good movie without considerable help from a good composer. In the case of John, score dominates - since the kind of films he's made haven't generally required needle drops. So it is you'll hear extracts of Thomas Newman's score for the Best Exotic Maigold Hotel movies, Stephen Warbeck's work on Mrs Brown and Shakespeare In Love, and Max Richter's haunting suite for his latest film, the political thriller Miss Sloane ...

Preview: John Madden On Thomas Newman  

Ahead of our next episode, John Madden talks about working with the Thomas Newman on The Best Exotic Marigold Hotel, and reveals how the great man was nervous about composing and Indian-influenced score. The full episode is out on Friday 19th May, and includes music from Shakespeare In Love, Mrs Brown and John's latest film, Miss Sloane, which is scored by Max Richter.

Episode 40: Michael Apted on Bond, Belushi & His Latest Film Unlocked  

Though we've been lucky enough to speak to a fair few superstars in our relatively short run here on Soundtracking, this might just be the first time we've welcomed a genuine grandee to the programme. Michael Apted is a writer, producer and actor who's been involved in film and television for well over 50 years. His credits include everything from British soap opera Coronation Street and the revolutionary documentary series Up to critically acclaimed movies such as Gorillas In The Mist and Enigma. He's also had the honour of directing a Bond film, which is no bad thing to have on one's CV. In recognition to his contribution to cinema, he was elected President of the Directors Guild Of America in 2003. Michael's latest offering is Unlocked, a supremely entertaining thriller starring Noomi Rapace, Orlando Bloom, Toni Collette, Michael Douglas and John Malkovich. That, I think we can all agree, is some cast. And what with it being a genre piece, it provided the perfect opportunity to explore the particular demands he deemed fit to make of composer Stephen Barton for the score ...

Preview: Director Michael Apted On The Score For Gorillas In The Mist  

Ahead of our next episode, legendary British filmmaker Michael Apted recalls how he and Maurice Jarre initially misjudged the music for the Oscar-nominated Gorillas In The Mist. It's a lovely story - and you'll hear plenty more like it when the full episode is released on Friday 12th May.

Episode 39: James Gunn On His Awesome Mixes From Guardians Of The Galaxy  

If anyone knows how to use music to maximum effect on screen it's James Gunn. For James is the man behind both Guardians Of The Galaxy volumes, which are as celebrated for their hugely successful Awesome Mixes as his sharp, fun and witty interpretation of the Marvel franchise. In the movies, Star Lord Peter Quill listens to mixtapes given to him by his mother, which are laden with music from 1970's Earth. The songs often play during the action on screen, providing energy and drive to the narrative. As well as the joyous array of source cues, there's Tyler Bates' score, which you'll hear extracts from throughout the course of the conversation. Unfortunately, we weren't afforded as long with James as we'd have liked, so there was barely time to deal with all the tunes in the Guardians films, let alone anything else. But he's tremendous value and we still managed to cover plenty of ground. We also play loads of the Awesome Mixes, including tracks by the likes of Redbone, The Runaways, Raspberries and Blue Swede ...

Preview: James Gunn On His Relationship With Composer Tyler Bates  

Ahead of our next episode with Guardians Of The Galaxy (Vols I & II) director James Gunn, here's a little clip in which he discusses his relationship with composer Tyler Bates. The pair met during the filming of Dawn Of The Dead, which James wrote and Tyler scored. So we've accompanied this extract with a track from the movie entitled Subterranean Sewer Attack. The full episode is out on Friday 5th May - and features plenty more of Tyler's work, as well as discussions about the Awesome Mixtapes which feature in the Guardians films.

Episode 38: Warren Beatty On The Music Of Bonnie & Clyde, Bulworth, Reds And Shampoo  

Edith's guest this week requires very little introduction. An actor, writer, director and producer, he appeared in his first film in 1961 and has subsequently been nominated for no fewer than 14 Oscars, winning best director for Reds in 1981. We are,of course, talking about the legend that is Warren Beatty. Throughout his career, Warren has demonstrated a passion for source cues in particular - from the bubble-gum pop of Shampoo to the rap that provides the unlikely sonic inspiration for Bulworth. He's also worked with world-renowned composers Stephen Sondheim, Ennio Morricone and Danny Elfman. Still going strong at 80, his latest project is Rules Don't Apply - which he wrote, directed and also stars in as real-life business tycoon Howard Hughes. Among the cast is Lily Collins, who as aspiring actress Marla Mabrey performs a specially commissioned song during the narrative. We'll hear a bit of that in a moment. But this particular episode begins, as it ends, with the piano maestro that is Errol Garner ..

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