Soundtracking with Edith Bowman

We're very excited about our latest episode of Soundtracking, which sees Edith joined by a supremely gifted actor, Edward Norton. Well, we say actor, but he's a little bit more than that, having written, produced and directed his latest project, the neo-noir Motherless Brooklyn.

Based on a novel by Jonathan Lethem, Motherless Brooklyn tells the story of Lionel Essrog, a private investigator with Tourette's syndrome trying to solve the murder of his mentor.

The film serves up a sonic feast - from our Daniel Pemberton's wonky jazz-infused score to an original song by Thom Yorke featuring Flea and a considerable contribution from virtuoso horn player, Wynton Marsalis.

We should say it also contains spoilers - but for Chinatown rather than Edward's own film!

One of our favourite films of the year has undoubtedly been Joker. We've already spoken to composer Hildur Guðnadóttir about her score for the movie, and now it's an utter delight to welcome director Todd Phillips back to Soundtracking for a second sitting.

There was much to discuss, from Hildur's stunning contributions to the influence of Charlie Chaplin and the thorny issue of why he used a Gary Glitter cue. 

We also have tracks from Frank Sinatra and Jimmy Durante.

Our guest on this week's soundtracking is something of a protofeminist in Hollywood terms, in that he makes it his mission to put strong, charismatic women at the very centre of his narratives.

Paul Feig made his name with Bridesmaids in 2011 - a much loved comedy starring Kristen Wiig, Rose Byrne and Mellisa McCarthy that has more than stood the test of time. 8 years later he's back with another female-led offering, Last Christmas, which was written by (and features) Emma Thompson and sees Emilia Clarke take the lead.

Scored by Paul's regular collaborator Theodore Shapiro, Last Christmas is held together musically by a string of George Michael classics, both of whose work you'll hear plenty of ...

Our latest guest on Soundtracking is something of a demigod when it comes to the realms of music and film.

Anton Corbijn is a Dutch photographer, music video director and filmmaker who has snapped anyone who's anyone in the music industry, including Bob Dylan, Bjork, Bruce Springsteen and Miles Davies. Indeed, it was he who took those iconic pictures of Joy Division in the subway tunnel, beginning a relationship which ultimately led to him bringing us the Ian Curtis biopic, Control. 

Anton has also had a long-standing relationship with U2 and Depeche Mode, and it is Depeche Mode's final concert of their Global Spirit tour that is the subject of his latest project - the documentary, Spirits In The Forest, which places a specific focus on six of the band's fans.

Depeche Mode: SPIRITS in the Forest is in cinemas for one night only worldwide on 21 November. Find your closest screening at spiritsintheforest.com

It's a welcome return for David Michod to our latest episode of Soundtracking, in which the Australian director talks us through the music for his latest film, The King.
The King is available on Netflix now, and is loosely based on on William Shakespeare's plays relating to Henry V. 

In putting the movie together, David turned to a couple of friends of this show: co-writer and actor Joel Edgerton and composer Nicholas Britell. It's an intentionally otherworldly score, and, as ever, you'll hear plenty of it throughout the course of the conversation.

Our guest on this latest episode of Soundtracking is an actor who made his name portraying one of the most iconic frontmen ever to have graced a stage.
Sam Riley's performance as Ian Curtis of Joy Division in Control was, quite simply, stunning - and perhaps informed by his own experiences of playing in his own band, 10,000 Things. As you'll discover, Sam is not only a great lover of music, but also absolutely cracking company.

He can currently be seen appearing in Maleficent: Mistress Of Evil alongside Angelina Jolie.

Our latest guest on Soundtracking is someone we've been wanting to get on the podcast for a very long time - as have many of you, judging by the feedback we receive on social media.

Mica Levi, also known by her stage name Micachu, is a classically trained composer who came to the attention of the film world in 2014 with her debut score for Jonathan Glazer's Under The Skin. 

Not only did Mica's work on her next film, Jackie, gain an Oscar nomination, but it also garnered vocal praise from none other than Ryuichi Sakamoto. 
Now she's teamed up with Alejandro Landes for Monos, a deeply unsettling movie in which eight children with guns watch over a hostage and a cow on a faraway mountaintop.

It's another double-whammy on our latest episode of Soundtracking - this time in the shape of two composers of world-wide repute.

Michael Giacchino cut his teeth on video games, before turning his attentions to film and television, with a host of award-winning scores for films such as The Incredibles, Up, Rogue One and Star Trek.
David Arnold, meanwhile, is a much-loved British artist who's been making screen music for nigh-on three decades - with Zoolander, Tomorrow Never Dies and Sherlock among his many credits.
Edith caught up with them ahead of a very special evening at London's Royal Albert Hall called Settling The Score, in which they played some of their greatest hits, for want of a better expression.  

It's a double-whammy on our latest episode of Soundtracking, as we bring you two extremely talented ladies charting very different courses in the world of cinema.
First up is Hildur Gudnadottir. Well known to fans of this podcast - on which she has featured by proxy many, many times - Hildur has gained broader and much deserved recognition for her work on Joker - Todd Phillips's origin story about the eponymous super-villain that has proved hugely popular among movie fans and critics alike. If you haven't seen it yet, Joaquin Phoenix's performance is astonishing, as is Hildur's suitably disturbing score.
Then we have Dolly Wells, a much-loved British comedy actor who has just made her directorial debut with Good Posture. She and I have more of a chat about her career in television and film than the usual focus on music, but she's an utter delight, so we really wanted to share it anyway.

Our latest guest on Soundtracking is John Crowley, the Irish film and theatre director who previously brought us critical successes Intermission, Boy A and Brooklyn.
His new offering is The Goldfinch. Based on Donna Tart's novel of the same name, the narrative centres on Theo, a young man who takes a painting from a museum after his mother dies in a terrorist attack.
While the cinematography is provided by undisputed master of the art, Roger Deakins, John went for a relative novice in Trevor Gureckis for the score. As ever, you'll hear plenty of Trevor's work throughout the conversation.