In the twenty-fifth episode of Film Music Focus, CineConcerts President/Producer Justin Freer continues his interview with composer Christopher Willis. They discuss working on VEEP with composer Rupert Gregson-Williams and British comedy icon Armando Iannucci, and Willis explains why the title theme changed between season 3 and season 4.  Willis talks about collaborating with other creators on DISNEY'S THE LION GUARD, and how the music in the show is influenced by classic film scores and World music.

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In the twenty-fourth episode of Film Music Focus, CineConcerts President/Producer Justin Freer begins his interview with composer Christopher Willis. They discuss Willis' background as a musicologist and how he was inspired by his grandfather's piano playing. Willis talks about "reverse-engineering" music and film scores, and explains how he got his start with Rupert Gregson-Williams at Remote Control Studios.

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In the twenty-third episode of Film Music Focus, CineConcerts President/Producer Justin Freer concludes his interview with Jim Fahey, Director of Programming for the Chicago Symphony Orchestra. Justin and Fahey discuss the types of audiences that attend live film concerts, and how the concert going experience has evolved over time. Fahey talks about the physical challenges the musicians face, and the acoustical challenges of performing film scores like CASABLANCA at Orchestra Hall in Chicago.

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In the twenty-second episode of Film Music Focus, CineConcerts President/Producer Justin Freer begins his two-part interview with Jim Fahey, Director of Programming for the Chicago Symphony Orchestra. Fahey tells the story of how he started with the Chicago Symphony Orchestra, and the evolution of their live film music performances starting with Charlie Chaplins CITY LIGHTS. Justin and Fahey discuss choosing the right film concerts to perform, and the challenges of performing THE LORD OF THE RINGS in concert.

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In the twenty-first episode of Film Music Focus, CineConcerts President/Producer Justin Freer concludes his interview with composer Joel McNeely. McNeely talks arranging/recording big band music for friend and FAMILY GUY creator Seth MacFarlane's studio albums. Then he describes working with Disney Imagineering on the Disney Dreams Paris Show, and the impact his music has on park guests. And finally, they discuss mustaches and the score for A MILLION WAYS TO DIE IN THE WEST.

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In the twentieth episode of Film Music Focus, CineConcerts President/Producer Justin Freer interviews composer Joel McNeely. McNeely talks about his friendship with the Jerry Goldsmith, and working with the late maestro on AIR FORCE ONE under a tight deadline. He describes writing the music for the world of the TINKERBELL franchise, and the challenge (and fun!) of composing for AMERICAN DAD.

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In the nineteenth episode of Film Music Focus, CineConcerts President/Producer Justin Freer interviews composer John Debney. Debney talks about composing for emotional moments in IRON MAN 2, collaborating on five films with director Jon Favreau, telling the story with the score in THE JUNGLE BOOK, and making the music of THE ORVILLE as big as it can be.

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In the eighteenth episode of Film Music Focus, CineConcerts President/Producer Justin Freer interviews composer John Debney. Debney reminisces about writing "Buddy's Theme" for the movie ELF, meeting Jerry Goldsmith and finishing the score on LOONEY TUNES: BACK IN ACTION, and composing for the intense imagery of THE PASSION OF THE CHRIST.

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In the seventeenth episode of Film Music Focus, CineConcerts President/Producer Justin Freer concludes his interview with Academy & Golden Globe Award nominated composer, Patrick Doyle. Doyle talks about his experiments with new sounds in JACK RYAN: SHADOW RECRUIT, his decision to use "Lavenders Blue" in the score for CINDERELLA, and the work ethic it takes to make it in the film music business.

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In the sixteenth episode of Film Music Focus, CineConcerts President/Producer Justin Freer continues his interview with Academy & Golden Globe Award nominated composer, Patrick Doyle. Doyle talks about his family's rich musical history, and how some musicians have a different definition of success. Then Doyle discusses scoring for teenage characters in HARRY POTTER AND THE GOBLET OF FIRE.

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