auburncom's collective on Huffduffer

Time dilation is a funny thing. For many, we understand there’s been a bit of a gap between episodes. For us, however, it’s been mere minutes since our last appearance – but thanks for sticking around nonetheless, as we’re finally back to discuss Hans Zimmer, Christopher Nolan, time, and Interstellar. Join us as we chat all things organs, pianos, space travel, and answer the question of whether Interstellar is Zimmer’s greatest score of all.

https://www.artofthescore.com.au/podcast/2024/1/22/episode-36-interstellar

Episode 29 marks Art of the Score’s first ever live episode, recorded in August at the Melbourne International Film Festival. Exploring the film music of Nick Cave and Warren Ellis (The Proposition, The Assassination of Jesse James by the Coward Robert Ford, and The Road), the live talk also preluded a concert later that week where the Melbourne Symphony Orchestra played Cave and Ellis’s music as arranged by our very own Nicholas Buc. Join us for a very special live episode as we try and find out what makes the film music of Cave and Ellis so good.

https://www.artofthescore.com.au/podcast/2019/9/30/04ya6zzzd00bujfwlp4ndj1952r1d1

In Episode 28, we conclude our time with The Empire Strikes Back, and our exploration of perhaps the best Star Wars film and score ever made. In this episode, we make our way through some remaining themes and motifs, as well as the major action setpieces of the film, and ask the biggest question of all: is this the best film score ever written?

https://www.artofthescore.com.au/podcast/2019/8/31/episode-28-the-empire-strikes-back-part-2

In Episode 27, we finally return to the world of Star Wars with the film and the score that many consider to be the series’ best: The Empire Strikes Back, or Episode V to its friends. Director Irvin Kershner created with Empire unquestionably the best-looking Star Wars film, but does John Williams’ music live up to the challenge? We think so. In the first of a two-part examination of the Empire score, we look at the new and returning themes for the galaxy far, far away.

https://www.artofthescore.com.au/podcast/2019/5/23/episode-27-the-empire-strikes-back-part-1

In Episode 25, we’ve seen things you wouldn’t believe. A guest synth expert to tell us all about the great Yamaha CS-80’s attack and delay, and the shoulders of its Orion filter envelopes. We’ve watched Vangelis glitter in the dark, near Wagner’s Tannhäuser Overture. All these moments will be recorded in time, on podcast recording equipment, and released online, like tears in rain.

https://www.artofthescore.com.au/podcast/2019/2/25/episode-25-blade-runner

In the year 2000, the sword-and-sandal epic was revived, with Russell Crowe trebucheted to international stardom as the star of Ridley Scott’s hugely successful film, Gladiator. But fame was also found for Hans Zimmer, today the biggest music man in Hollywood, but who along with Australian composer and singer Lisa Gerrard wrote some of the most influential film music in decades for Gladiator. In Episode 17, we take a look at what makes Zimmer’s sound so pervasive, how Lisa Gerrard’s voice intensifies the film’s emotions, and just where all that strength and honour comes from.

https://www.artofthescore.com.au/podcast/2018/6/4/episode-17-gladiator

In Episode 16, we finish our look at Williams’ seventh entry into the Star Wars universe by looking at what’s returned and what hasn’t. We take apart the reoccurring Star Wars themes and how they’re used in The Force Awakens, and make a number of bold and possibly a little reckless predictions for The Last Jedi (then unreleased).

https://www.artofthescore.com.au/podcast/2018/5/11/episode-16-the-force-awakens-part-2

In Episode 15, we return to the galaxy far, far away and take a look at how the musical landscape of Star Wars changed in the almost 40 years between A New Hope and The Force Awakens. In the first of a two-part episode we look at Rey’s Theme, Kylo Ren’s motifs, and The March (or is that the fugue?) of the Resistance. Recorded last year in eager anticipation of The Last Jedi, we’re finally getting this episode to you just in time for its release on Blu-Rey (see what we did there?), so sit back and enjoy our return to perhaps John Williams’ greatest musical franchise.

https://www.artofthescore.com.au/podcast/2018/4/3/episode-15-the-force-awakens-part-1

There Will Be Blood, Paul Thomas Anderson’s relentlessly dark exploration of Daniel Plainview, an American oil baron, now comfortably sits among the greatest films of the century so far. Yet Jonny Greenwood’s score - who is best known from his days on guitar for Radiohead - may well be even greater and more original still. In this episode of Art of the Score, we take a look at Greenwood’s incredibly unusual music, and with the help of There Will Be Blood expert and conductor Hugh Brunt, take apart what makes it tick, its fresh musical influences and style, and jointly, drink its milkshake.

https://www.artofthescore.com.au/podcast/2017/8/3/episode-11-there-will-be-blood

In our third and final Star Wars episode, we take a look at some of the lesser known cues that round out this incredible score. We discuss the giant bantha in the room: the musical influences that inspired Williams and the temp music that helped to shape some of his artistic choices. Finally, we take a whirlwind tour of the action music, explore the groovy Cantina Band tunes and debate whether Star Wars is in fact the greatest film score of all time. Is it?

https://www.artofthescore.com.au/podcast/2017/7/4/episode-9-star-wars-part-3