It’s only a matter of weeks after Oscar season ends that Emmy season begins. I know, it’s hard to believe, but within the industry — especially the many publicists we deal with on a daily basis — the calendar year has become one long awards season. Still, Emmy season is a great way to catch up on the many fine shows that now grace the small screen, and in this first of a series of stories about Emmy-worthy work in music for television, we look at a handful of potential nominees in the series- and limited-series-scoring categories. In this second story, the role of music in current science-fiction series is examined. A third story looks at the music for four of the season’s top limited series, including Howards End and Patrick Melrose. And a fourth story looks at the odds of documentary scores, including The Vietnam War and Blue Planet II, attaining Emmy glory.
It’s always fascinating to talk with composers about how they go about scoring a film, what their approach to the material is, how they work with different directors. For this story — that first appeared in last week’s Music for Screens section of Variety — I interviewed seven composers: Marcelo Zarvos (Fences), Carter Burwell (The Founder), Daniel Pemberton (Gold), Max Richter (Miss Sloane), Harry Gregson-Williams (Live by Night), Trent Reznor and Atticus Ross (Patriots Day). Many took their cues from the characters at the center of the story and developed themes and sounds specific to them, their goals and desires. And in a second story, I discuss the Academy’s surprising decision to include scores from musicals in its “original score” category for the first time in many years.
For Variety‘s latest Music for Screens issue, I was asked to profile Amos Newman and take an inside look at one of the industry’s newer composer-representation agencies (his clients include Hans Zimmer, Trent Reznor and Junkie XL). A fascinating day inside the WME offices.