Icelandic composer Hildur Guðnadóttir, who took the business by storm a couple of years ago — earning an Emmy for Chernobyl and an Oscar for Joker — was back in town recently to discuss her music for Tar and Women Talking. It was a rare opportunity for me to write a cover story for Variety, and while she ultimately missed out on Oscar nominations for both scores, she remains a fascinating personality and a talented composer. Along with the profile, I wrote a sidebar on the role of conductor John Mauceri in helping Todd Field get the musical details right for his Tar screenplay.
Ninety-year-old John Williams, who has hinted that his music for Steven Spielberg’s The Fabelmans and the forthcoming Indiana Jones and the Dial of Destiny will be his last for films, still can’t seem to slow down. In December, he recorded a new three-and-a-half minute piece for ESPN’s coverage of the College Football Playoff National Championship, airing Monday. I broke the story for Variety on Thursday and it quickly became one of my most-read pieces of recent months.
Once in a while my editors at Variety will commission an essay on a topic of current interest. They asked for two in December, and I found both fascinating: A long piece looking at the progress, or lack thereof, that women composers have been making in film and TV music; and a second, somewhat lighter in tone, about the current popularity of television themes — mostly on the streaming services — and how they seem to be more memorable lately.