Nick Urata

Brazen composer and front man of DeVotchKa speaks on his collaboration with author, Daniel Handler to create tantalizing musical numbers for the treacherous Count Olaf in A Series of Unfortunate Events, how backing up Dita Von Teese helped his band carve out a niche, the upcoming 60th anniversary of Paddington concert, and the importance of transporting your listening audience to an emotional place.

Daniel Pemberton

Gifted Golden Globes nominated composer speaks on remodeling the work of Bach within his explosive hybrid score for Ocean’s 8, how he convinced Aaron Sorkin to let him capture the essence of a rock band for Molly’s Game, and the innovative sequence he’s most proud of from medieval epic, King Arthur: Legend of the Sword.

Film/TV ComposersRuby Gartenberg, Paul GoldowitzJune 16, 2018Paul Goldowitz, Ruby Gartenberg, Daniel Pemberton, Costa Communications, Ray Costa, Film Music, Composer, Film Scoring, Composing, Producer, Musician, Composer Interview, Original Score, Soundtrack, OST, Film Score, Television Music, Television Score, All The Money in the World, The Man from UNCLE, The Man from U.N.C.L.E, King Arthur, King Arthur: Legend of Sword, Steve Jobs, Molly's Game, The Counselor, Ridley, Daniel Pemberton Interview, Ridley Scott, Aaron Sorkin, Guy Ritchie, Danny Boyle, Ocean's 8, The Future Sound of London, Video Game Magazine, Bedroom, Janet Street-Porter, Jean-Michel Jarre, The Grid, Brian Ino, Aphex Twin, John Barry, The Beach Boys, Ennio Morricone, Gary Ross, David Holmes, Steven Soderbergh, Ocean's Eleven, Ocean's Twelve, Ocean's Thirteen, The Italian Job, Quincy Jones, Power Station, Electric Lady Studios, Bach, Fugue in D Minor, Clair De Lune, Debussy, Getty, Run Londinium, Stockhausen, Karlheinz Stockhausen, Molly Bloom, Soundtoys, Devil-Loc, EchoBoy, Waves Abbey Road, Tape J37, Alti-Verb, Logic, Pro Tools, Black Mirror, USS Callister, Black Mirror USS Callister, Netflix, 2

Pedro Bromfman

Multi-award winning powerhouse composer and two time Cinema Brazil Grand Prizes nominee shares about honoring the rich tradition of Latin-American music in an electronic world, balancing the beauty and darkness for Narcos, and why he believes he was made for film scoring.

Film/TV ComposersRuby Gartenberg, Paul GoldowitzJanuary 18, 2018Paul Goldowitz, Ruby Gartenberg, Pedro Bromfman, Narcos, Elite Squad, Robocop, The Story of Us with Morgan Freeman, Chain of Command, Netflix, National Geographic, White Bear PR, Thumper, Park City Film Music Festival, ASCAP, ASCAP Award, Cinema Brazil Grand Prizes, Hollywood Music in Media Awards, ACIE Award, Premio Contigo! De Cinema, Berklee College of Music, Moacir Santos, John Coltrane, Miles Davis, Joe Pass, Wes Montgomery, Hermeto Pascoal, Guinga, Tom Jobim, Joao Gilberto, Cinema Paradiso, Ennio Morricone, UCLA, Jimi Hendrix, Chick Corea, Milton Nascimento, Wayne Shorter, Herbie Hancock, Pat Metheny, Peter Gabriel, Logic, Pro Tools, Digi 001, Latin Recording Academy, Pablo Escobar, Colombia, Medellín, Cali, Kontakt, Liza Richardson, Eric Newman, Gaumont, Prologue, Cassio Duarte, Manu Delago, Jeff Russo, Television Academy, Fargo, David Buckley, The Good Fight, José Padilha, City of God, Berlin Film Festival, Nat Geo, Sundance Film Festival, End Of The Line, 3

Ali Shaheed Muhammad

Legendary member of A Tribe Called Quest and cultural influencer talks about his artistic collaboration with Adrian Younge on Marvel's Luke Cage soundtrack, the social relevance of We The People, and how he orients for the harmony of mankind.

INTERVIEWS