Our latest guest on Soundtracking is Matt Shakman, director of the latest adventure in the MCU - The Fantastic Four: First Steps. Starring Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn as the titular team, it's set in the 1960s of a retro-futuristic world where the Fantastic Four must protect against the planet consuming cosmic being, Galactus.

Our latest guests on Soundtracking are wife and husband Lena Dunham and Luis Felber - aka musician Attawalpa - who join us to discuss the Netflix TV show they co-created, Too Much. Starring Megan Stalter and Will Sharpe, it tells the story of Jessica, a New Yorker who starts a new life in London after a disastrous breakup, only to meet musician Felix, who proves hard to ignore despite her better judgment. As well as working as music producer on the show, Luis provided the score with his musical partner, Matt Allchin. AND he also provided us with said score, as it's yet to be released. Thank you Luis! 

We have another bonus episode of Soundtracking for you, recorded in front of an audience at Apple Regent Street (London). The subject of this genuinely fascinating conversation is all about the recent release of F1® The Movie, and features key members of the production team. Edith is joined by cinematographer Claudio Miranda, editor Stephen Mirrione, production designer Ben Munro and casting director Lucy Bevan for an exclusive conversation about the Apple Original film — all of whom share wonderful insights into their craft and how they applied it to this extraordinary film.

Welcome James Gunn, writer and director of the latest iteration of Superman. Starring David Corenswet, Rachel Brosnehan, Nicholas Hoult and James's dog, it sees billionaire Lex Luther attempt to undermine our hero by turning public opinion against him. James is on cracking form, and is particularly passionate about his music, even writing a song for the movie.

We're back with the second of our Jurassic Park Rebirth specials to kick off your week. We released Edith's chat with director Gareth Edwards a little earlier. Now it's the turn of his composer Alexandre Desplat, who of course had to contend with the legacy of all the wonderful music associated with the franchise, not least John Williams's iconic theme.

It's another two show week here on Soundtracking, as first director Gareth Edwards and then composer Alexandre Desplat join us to discuss their work on Jurassic World: Rebirth. In this first of the interviews, Gareth gives us the inside line on how he got the gig, cast members peeing in mangrove swamps, and Alexandre's last ditch efforts to land the choral section of the iconic Jurassic Park theme.

King Of The Drums, Antonio Sanchez, joins us to discuss his work on Apple TV+ hit, The Studio, and his seminal, groundbreaking score for Birdman. He is an absolute delight, and fascinating in his exploration of his process.

In the second interview marking the release of 28 Years Later, G & Kayus from Young Fathers join Edith to discuss the score for the film (miss you Alloyssious). We've already heard from director Danny Boyle, so be sure to check that interview out if you haven't already. Danny is, as ever, in cracking form.

We've got two hits of Soundtracking for you to start your week, as we bring you a double-bill to celebrate the release of 28 Years Later. In our first episode, director Danny Boyle joins us to discuss the third film in the series, which stars Jodie Comer, Ralph Feinnes, Aaron Taylor-Johnson, Erin Kellyman and Alfie Williams. 28 Years Later is scored by Young Fathers - who, by the way, are the subject of our second episode today

It's bonus time once more for you on here Soundtracking, as music supervisor / producer / editor Cecile Tournesac & composers Alfie Godfrey and Max Aruj join us to discuss their formidable contribution to Mission Impossible: The Final Reckoning. We've spoken to director Christopher McQuarrie on the podcast, who couldn't have been more complimentary about their work on the movie. Hopefully, this chat with Cecile, Alfie and Max we'll shed further light on how much thought went into the score, and how important it was to our viewing experience.