Luis Felber is Never Too Much

From dreamy alt-rock to Netflix scores. Attawalpa’s genreless world gets even bigger.

Nightmares on Wax’s Lifelong Sound System

“I thought it would be really cool to present this music like a radio show, like the pirate stations I was involved in when I was younger.”

Sarah Schachner on Scoring ‘Predator: Badlands’ and Reclaiming her Creativity

Sarah Schachner on scoring Predator: Badlands, channelling trance-like states into her composing, and why her studio is now built around improvisation rather than production.

Isobel Waller-Bridge On Listening Deeply, Moving Slowly, and Cultivating the Quiet

"I love it when somebody finds my music from a record rather than from a score."

Everyone Starts from Somewhere: Daniel Pemberton

From a cassette recorder in a Surrey bedroom to the biggest original film of 2026, Daniel Pemberton has always known how to build a world from unexpected materials.

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Orlando von Einsiedel on How He Works With Music in Documentary Films

The Award-winning director reflects on the alchemy of storytelling, the emotional weight of filmmaking in fragile environments, and why a good score should move you without ever shouting for attention.

Ian Bonhôte & Peter Ettedgui Collaborate with Composers

Directors Peter Ettedgui and Ian Bonhôte delve into the pivotal role of music in their filmmaking, sharing insights on their recent collaboration with composer Ilan Eshkeri for Super/man: The Christopher Reeve Story.