Gavin Brivik is the latest guest on The Film Scorer! I've been familiar with Gavin's work for quite a while, probably dating back to his score for the 2021 film Wild Indian, which was one of those situations where I hear someone making great music on under the radar indie films and wonder when they're going to break out. How to Blow Up a Pipeline helped put Gavin on the map while scoring seasons one and two of The Pitt has really changed things, earning him an Emmy nomination in the process. One of the driving keys to Gavin's success, in my opinion, is that he's a longtime listener to the show, which is actually how we start the conversation and why it has an in media res beginning - it was too good for me to keep out.

All this is just window dressing, however. While we touch on The Pitt, Pipeline, and my own Film Scorer project, we really planned to dig into his latest score: Faces of Death, which is sort of a legacy sequel to the 1978 film of the same name. As a result, we end up going down perhaps the most philosophical conversation that's ever been had on the show, largely stemming from the question of "What makes a piece of art evil?" and going from there. But don't despair, there's still plenty of film music conversation, and we even break the news that Gavin is scoring the Rainbow Six Siege games series, which includes a collaboration with Metal Gear Solid.

Gavin's score for Faces of Death, and much of his other music, is available on all major platforms while the film itself is now available on Shudder. You can find out more about Gavin on his website.

One of the great pleasures of this show is talking to people whose work I really enjoy. Although I'd known Keegan Dewitt's music for a number of years (probably first taking notice with 2018's Gemini), his score for last year's The Chair Company really floored me, with the distinct and ever-changing palette and approaches intriguing me almost as much as the show's labyrinthine plot. So with all that said, it's great to have Keegan on the show. However, we really focus on Keegan's latest project - scoring the hit romance series Off Campus.

As such, we spend much of the conversation talking about his score for Off Campus, including collaborating with the show's time (particularly the music supervisor's and series creator Louisa Levy) and a little snafu where he accidentally disclosed some confidential behind-the-scenes info early on in the show. Along the way, we cover a number of his other projects, discuss how to score comedy and romance in new ways, and the three reasons to take on a project.

Keegan's score for Off Campus, and much of his other music, is available on all major platforms while the show itself is available on Amazon Prime. You can find out more about Keegan on his website.

On the latest episode of The Film Scorer podcast, I'm joined by John Paesano (Daredevil, Marvel's Spider-Man)! I've been a fan of John's for a while, with Kingdom of the Planet of the Apes being a recent favorite, so it was an extra pleasure chatting with him. His latest score is for the Netflix series The Boroughs, in which he channels an 80s/early-90s big, symphonic, melodic adventure style of scoring. Given that the show itself is designed to be very score-heavy, with music going right in the forefront, it takes full advantage of John's score, a welcome refresher given how much less-common the style of scoring has become. While he talk a fair bit about The Boroughs, it's only one of many topics, which include Kingdom of the Planet of the Apes, the hesitancy of using symphonic scoring, and (my favorite) a chance "encounter" we had more than fifteen years ago.

John's score for The Boroughs, and much of his other music, is available on all major platforms while the show itself is available on Netflix. You can find out more about John on his website.

Here we are, season 6, episode 2, things are in motion, momentum is building, and I'm joined by one of my favorite composers: Cristobal Tapia de Veer (The White Lotus, Smile)! Cristo's latest project is the 2026 BBC adaptation of Lord of the Flies, featuring some incredible child actor performances and an increasingly psychedelic and psychotic score. We focus our conversation around that score, but inevitably veer off into different directions, also covering some of his past works with Lord of the Flies director and his longtime collaborator Marc Munden as well as Smile director Parker Finn, our shared interest in metal, the inspiration and magic of the unknown, and plenty more. I even ask point-blank about what happened in The White Lotus. How does he answer?

Cristo's score for Lord of the Flies, and much of his other music, is available on all major platforms while the show itself is available on Netflix.

After a long wait and seemingly unending anticipation, Season 6 of The Film Scorer Podcast is here! To kick off the new season, I'm joined by the very rare repeat guest, the great Colin Stetson! Colin and I talked several years back (much longer ago than it feels), right around when The Texas Chainsaw Massacre came out, really digging into the weirdness of his score. This time, our focus is technically on his score for the new show Something Very Bad Is Going To Happen, but we get off track almost immediately and seemingly never recover, talking about the show as well as his series of improv/collaboration releases, Chainsaw, playing on audience expectations, and trying to imbue projects with real and honest human experience. Frankly, it ended up pretty wide-ranging.

Colin's score for Something Very Bad Is Going to Happen, and much of his other music, is available on all major platforms while the show itself is available on Netflix.

And if you haven't yet, be sure to check out our prior conversation here: https://thefilmscorer.com/colin-stetson-on-scoring-texas-chainsaw-massacre/

Season Six of The Film Scorer Podcast is almost here! The new season launches on Sunday, May 31st, with new episodes continuing every other Sunday after that (more or less). Season five had some huge interviews, like Oscar winner Daniel Blumberg, Max Richter, Oneohtrix Point Never, Thomas Newman, and even the noise rock band Chat Pile, so you never who will show up this time around. But I'll give you a taste of what's to come - Season six kicks off with Colin Stetson and Cristobal Tapia de Veer, and it only goes from there.

So subscribe on your favorite podcast platform, follow The Film Scorer on Instagram, Twitter, Threads, and Bluesky, and keep those ears open!

Although we're now a couple months into 2026, I finally present you with the "best" film scores of 2025. As usual, there are some very mainstream scores in here that most observers would agree with and there are a few left field choices. If you're a longtime listener, that shouldn't surprise you. As with all of these lists, although I say they're the "best", what I really mean is these are my favorites. Who's to say what's really the best? Surely not me.

This was a much harder list for me to put together than in recent years - there were a few scores that I immediately knew were going to make it, but a number of others where it took a lot more consideration, noticing that the passage of time had changed how I'd viewed a score (for better or worse); ultimately these lists are just a snapshot in time, but some decisions were made based on how I felt now while others were made based on how I felt in the past. It's a good reminder as to the subjectivity of each of these lists, at how you felt when seeing the film impacts your memory of it (and its score) forever on. But all things considered, I'm happy to say that 2025 was another solid year, with a deep set of great scores that stretch far beyond the same handful that received most attention during the year-end awards and recaps.

If you can't control yourself, look below to see what scores I picked, though you'll miss out on the why of it all (and given some of the choices, the why is pretty important).

Awards season is nearing its end, with the BAFTAs later today, February 22, and the Oscars coming on March 15. I'll always say that, although I'm by no means a massive fan (or detractor) of film awards, I'm always happy that it's the one time of year where film music gets to be widely celebrated. The nominee slates also provide great peaks into the state of modern, mainstream film music, and this year's selections are a great cross-section of style and approach. And of course, it gives me an excuse to talk about them a little bit, so read below then listen on.

Of the nominees, I interviewed Max Richter for Hamnet and also interviewed Jerskin Fendrix near the end of 2023 for Poor Things (which I would have swore was not that long ago...).

This year, the nominees for both sets of awards are the same:

You poor fools - imagine thinking that The Film Scorer was actually on hiatus? Far, far from the truth. Ending the fifteen second break I took after interviewing Daniel Lopatin is Simon Franglen! For those that don't know, Simon is fresh off of scoring Avatar: Fire and Ash, having already scored Avatar: The Way of Water and working with longtime collaborator James Horner on the first film. This is a much less tangential interview than normal, with essentially our whole focus revolving around Avatar: creating and expanding the palette, the scope and breadth of themes, his prior work with James Horner and carrying a core team through all three films, and, above all, making sure the boss (Jim Cameron) is happy.

Simon's score for Avatar: Fire and Ash and the rest of his music is available on all major platforms. Avatar: Fire and Ash is currently in theaters, and if we're lucky there might be a few more Avatar films on the way some day. You can find out more about Simon on his website.

Here we are, in the dead zone between seasons, where all should be silent. But a voice calls out from the darkness. Who could it be...?

Well my friends, that voice belongs to one Daniel Lopatin, also known as Oneohtrix Point Never (alongside your humble host, of course). Daniel has just scored Marty Supreme, and I can vouch that both film and score are great, certainly landing upon my top tens of the year. Unsurprisingly, then, Daniel and I spend most of the conversation talking about Marty Supreme, including musical anachronism, inspiration from sports films, and long nights spent with Josh Safdie.

Daniel's score for Marty Supreme is forthcoming (though having heard an advance version, I can vouch that it's great) and the rest of his music is available on all major platforms.