Soundtracking With Edith Bowman

From indie classics Swingers and Go to big budget blockbusters The Bourne Identity and Edge Of Tomorrow, Doug Liman is a director who makes a point of thrusting the viewer into the very heart of the action. His musical selections are central to the experience - as evidenced by the Oakenfold track which so memorably accompanied the exhilarating car chase in Bourne, and accompanies Edith's intro. Doug's latest film is American Made. It's based on the life of Barry Seal, a commercial pilot who became a drug smuggler in the 1980s and was recruited later on by the DEA to provide intelligence. The film is scored by Christophe Beck, who has very kindly sent us a couple of his cues from the film to exclusively feature in this episode. They're not available anywhere yet, so MASSIVE thanks to him. But as well as Christophe's original compositions, American Made also features a rip-roaring array of needle-drops from the 70s and 80s, including tracks by George Harrison, Talking Heads and the one which opens up th

It's fair to say Soundtracking might not exist without Clint. That's because the genesis of the idea formed when Edith saw him performing his film scores at the Largo in Los Angeles back in 2012. And 5 years later, here we all are! After his band Pop Will Eat Itself disbanded in 1996, Clint was introduced to the business when Darren Aronofsky asked him to score Pi. The pair have collaborated several times since - as part of total body of work comprising around 50 films. During the course of the conversation, you'll hear extended extracts of Clint's work on High Rise, Moon, Pi, Black Swan and Requiem For A Dream. But we begin in the iconic venue in which this interview took place - Air Studios in London - with the main theme from the very first score he recorded there ...

From short film Pioneer to romantic crime drama Ain't Them Bodies Saints and Disney epic Pete's Dragon, David Lowery has made a habit of examining the nature of identity, family and relationships from altogether sideways perspectives. It's an approach that's served him well - and one he uses to great effect again in his latest offering, A Ghost Story. A Ghost Story stars Casey Affleck as the spirit of a recently deceased man who remains in the house he shared with his wife, played by Rooney Mara. It's scored by Daniel Hart, who David has worked with on many occasions. Daniel's compositions for the film stemmed from a song he wrote for his band, Dark Rooms, and you'll hear plenty of it during the course of the conversation. Edith and David also discuss the music which inspired him as an aspiring director, and also what it's like to work with the great Robert Redford.

This weekend mark's our first birthday, and it occurred to us that we've been rather remiss in our formative year in not having featured a music supervisor. So we decided to put that right by speaking to Sarah Bridge, who came highly recommended by one of our previous guests, the Oscar winning John Ridley. As well collaborating with John on Sky Atlantic's TV series Guerrilla, Sarah has worked on a host of critically acclaimed productions including X + Y, The Sense Of An Ending and The Theory Of Everything. The latter was scored by one of her idols, Jóhann Jóhannsson. This episode features examples of his score, not to mention music by Max Richter, Femi Kuti, Keaton Henson and Irma Thomas. But we began by learning about the myriad facets to Sarah's role in the movie-making process.

When it comes to stylish movie-making, you can generally rely on the French. And one man with Gallic flair in abundance is Luc Besson. The genial Parisian has been involved in over 100 films as either a writer, producer or director - including much loved cult classics Nikita, The Big Blue and Leon. His latest project is CGI sci-fi epic Valerian And The City Of A Thousand Planets, a sumptuous visual feast based on the comics he loved as a kid. Much of Luc's work has been scored by his longtime friend Eric Serra, of which more in a moment. But in the case of Valerian, he turned to Alexandre Desplat, just to shake things up a little bit ...

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 Palme 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.

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 ...

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 ...

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

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.

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.

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!

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. And as we'll discover, it's John's view that you can't 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 ...

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 d

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 Blu

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, but this particular episode begins, as it ends, with the piano maestro that is Errol Garner ..

John Ridley describes Idris Elba as a Renaissance man; were he not so humble, he might just as easily apply the expression to himself. An Oscar-winning screenwriter for the magnificent 12 Years A Slave, he's also a dab hand at directing, producing, novel-writing and (believe it or not) stand-up comedy. He's ferociously thoughtful, considered and intelligent too, so our latest offering is as much about sociology and politics as sound. John's latest project is Guerrilla, made by the ever-reliable Showtime and available in full via Sky Atlantic. Staring Idris, Frieda Pinto and Babou Ceesay, it focusses on the little-known story of the British Black Panther movement in 1970s London. In addition to some rare contemporary grooves from that, you'll hear extracts from Hanz Zimmer's score for 12 Years A Slave, Waddy Watchel's bespoke arrangements for the Jimi Hendrix biopic All Is By My Side, and a spot of Carter Burwell's work on 3 Kings (which John scripted). But in putting this episode together, we owe a

It's back to where it all began, with Edith's second crack at British director, Ben Wheatley. This time round they're focusing on Ben's new film Free Fire, a super-stylish action comedy which he co-wrote with his wife and longtime creative partner, Amy Jump. Executive produced by Martin Scorsese, Free Fire is scored by Geoff Barrow and Ben Salisbury, who took sonic inspiration from David Shire's exceptional work on The Taking Of Pelham 123. You'll hear plenty from both musical suites, as well as tracks by Lalo Schifrin, The Nerves, Creedence Clearwater Revival and John Denver. As before, Ben is tremendous value, as we very much hope you'll agree.

Good grief, does this fine gentleman have a few stories to tell. Whether discussing Tony Hancock with David Bowie or royally pissing off Harvey Weinstein, British producer Stephen Woolley has been there, done that, and bought the (band) T-shirt. Stephen is perhaps best known for his work with Neil Jordan on films such as Interview With The Vampire, The Company Of Wolves, Michael Collins and the Oscar-winning Crying Game. He also directed the Brian Jones biopic Stoned and executive-produced Backbeat - which focused on fifth Beatle Stuart Sutcliffe. If you need any further evidence of his credentials for Soundtracking, he's variously secured the services of David Bowie, Jerry Dammers, Dusty Springfield, Boy George and the Pet Shop Boys for movies he's produced. You'll hear songs from all of these artists woven into the conversation - as well as extracts from Carl Davis' theme for Scandal, Anne Dudley's work on The Crying Game and Rachel Portman's score for Stephen's latest film, Their Finest. But our sto

Like Martin Scorsese, Quentin Tarantino and Danny Boyle, Edgar Wright is one of those filmmakers who's become synonymous with an expert use of music in his work. As well as having collaborated with composers such as Nigel Godrich, Steven Price and David Arnold, he's also deployed source cues to maximum effect in every single one of his projects - from offbeat comedy classic Spaced to the ridiculously entertaining Cornetto Trilogy. It's thus an absolute delight to welcome him to Soundtracking - a weekly podcast in which directors, writers, actors and musicians discuss the sounds of the screen. Edgar's new film Baby Driver recently premiered at South By Southwest in Texas to great acclaim, but we'll invite him back to talk more about that in June when it gets a general release. Suffice to say, the soundtrack features in excess of 35 songs ... In the meantime, we're going to reflect upon a CV that includes Shaun of The Dead, Hot Fuzz, World's End and Scott Pilgrim - not to mention Spaced - the wonderful