Félicia Atkinson on the five sounds that built Sans Visage, her reimagined score for Georges Franju's Eyes Without a Face. Alarms, storms and the ghosts of Twin Peaks, all built from the same hidden optimism.

Sixteen 'earworms' spun from two double basses, two voices and electronics, out now on Room40. Finnish/Australian bassist Helen Svoboda talks about distance, restlessness and what listeners are really searching for when they slow down.

Composer Jessica Rose Weiss on scoring Hayley Kiyoko's debut feature, the intimacy of working with a musician-director, and what it means to build a world out of someone else's DNA.

Shruti Kumar spent a decade waiting for a script like this. The composer on Riz Ahmed's maximalist Amazon series, scoring across genres, and why putting human experience in a box was never going to work.

Bishi's fourth album scores a virtual reality film, but its roots reach back through club culture, sitar training and a family who taught her that art should belong to everyone.

Gavin Brivik scored two seasons of The Pitt by hiding his music inside the hospital. Then he begged for the chance to be heard.

The Vancouver-based composing duo on genre-jumping, cultural roots, and the music that costs something to make.

There's a video store on Magnolia Boulevard in Burbank where the conversation is as likely to turn to Danny Elfman as it is to the film he scored. Matthew Renoir opened it because he thinks that's exactly how it should be.

The Syrian-Armenian-American artist on presence, emergence, and the sound of her human revolution.

The Composer of Wuthering Heights on Fennell, Film Music, and Why Less Isn't Always More

Legendary composer Christopher Young on creative freedom, vintage synthesis, and why he’s still terrified before every project.