This year’s season of podcasts was shortened due to COVID, but we did manage to do six, many of them remotely (thanks to the wonderful engineers and staff at the legendary Village recording studios in West L.A.): David Newman and Matt Sullivan for their work on West Side Story; Natalie Holt on both Loki and Obi-Wan Kenobi; Laura Karpman on Ms. Marvel; Alan Silvestri and Glen Ballard on Pinocchio; and Alan Menken on Disenchanted. This is a Disney Music Group production (available wherever you get your podcasts) and you can find our updated list at https://forscores.com/.
Some of today’s most compelling scores are on television, and for science-fiction and fantasy projects. This year’s crop was especially interesting, and I explored several of them in stories for Variety: Bear McCreary talked about his grand-scale music for The Lord of the Rings: The Rings of Power; Amie Doherty and Ramin Djawadi discussed their scores for She-Hulk and House of the Dragon, respectively; Laura Karpman regaled us with the complexity of recording Ms. Marvel; Natalie Holt and Hesham Nazih talked with us about Marvel’s Loki and Moon Knight; the composers of Severance, Foundation and The Book of Boba Fett chimed in on their special challenges; and Nami Melumad talked about the latest Star Trek series, Strange New Worlds. Nicholas Britell talked with us twice about Andor, first in announcing his involvement, long kept under wraps; and after the series debuted, although he was still reluctant to give away any secrets.
This was a special one. We discovered that John Williams was writing a new theme for Lucasfilm’s Disney+ series Obi-Wan Kenobi and broke the story for Variety in February. Then we got to sit down for lunch with British composer Natalie Holt, who galvanized us all with her Loki music and never stopped for minute, diving into the Star Wars world with her own take on music for the Jedi Master. That interview ran as the series was just beginning in May.