We have a bit of a Fall Guy special for you today, as director David Leitch, producer Kelly McCormick and writer Drew Pearce join Edith to discuss their brilliant film. Starring Ryan Gosling and Emily Blunt, it tells the story of a stuntman working on his ex-girlfriend's directorial debut, who gets ensnared in a conspiracy surrounding the film's lead actor. First up are David and Kelly, followed by Drew

It's a welcome return to Soundtracking for Luca Guadagnino, who joined Edith from Los Angeles to discuss his latest movie, Challengers. The story - in very broad terms - follows a professional tennis champion who plots a comeback with the help of his wife - a former prodigy who retired after an injury - as he goes up against another player who also happens to be his former best friend and wife's former lover. Challengers is scored by our old friends Trent Reznor and Atticus Ross...

Our latest guest on Soundtracking is director Zack Snyder, joining Edith to discuss Part Two of Rebel Moon - entitled The Scargiver - which you can watch on Netflix now. Following on from the first installment of the saga, it sees our heroine Kora and a band of warriors defend their homeland, Veldt, against the tyrannical Motherworld. Both film are scored by friend of the podcast, Tom Holkenborg, aka Junkie XL.

A couple of weeks after we.brought you Dev Patel and Jordan Peele talking Monkey Man, we're delighted to say we have another live Soundtracking Everyman Film Club for you. Today it's the turn of director Sam Taylor Johnson, producer Giles Martin and Music Supervisor Iain Cooke to discuss Sam's Amy Winehouse biopic, Back To Black. Starring Marissa Abela in the lead role, it predominantly charts the influence of Amy's family, her early years in the music industry and her troubled relationship with Blake Fielder Civil, encompassing her triumph at the 2008 Grammys, at which she won 5 awards including Best Album. Sam, Giles and Ian joined Edith in front of an audience at The Screen On The Green in Islington, north London.

Our latest guest on Soundtracking is Alex Garland, joining Edith to discuss his latest film as a writer / director, Civil War, scored by our old pals Ben Salisbury and Geoff Barrow. The narrative follows a group of journalists who travel across the United States during a rapidly escalating second American Civil War, with Kirsten Dunst, Wagner Moura and Nick Offerman among the cast. It also features some tremendous needle-drops, as discussed by Edith and Alex

Our latest guests are Dev Patel and Jordan Peele, who joined Edith for the first Soundtracking Everyman Film Club of 2024 to discuss Dev's debut feature, Monkey Man, recorded live at Screen On The Green in north London. As well as writing and producing the film (with a little help from Jordan), Dev also directed - on what was, as you'll hear, an extremely challenging shoot. Monkey Man is ostensibly a revenge thriller, drawing from the rich tradition of classic kung-fu movies. But peel back the layers and you'll find so much more - not least razorsharp socio-political commentary.

Our latest guest on Soundtracking is Neo Sora, son of Ryuichi Sakamoto and director of a final gift to the Japanese composer's fans, Opus. Recorded in late 2022, with just Ryuichi and a Yamaha grand, Opus sees him perform his most haunting, and delicate melodies in equally haunting and delicate black and white. It is a wonderfully tender, meditative and moving film, which we recommend you all to go and see.

Our latest guest on Soundtracking is Issa Lopez, creator, writer and director of True Detective: Night Country, which is available to watch in its entirety on Sky and Now TV - in the UK at any rate. Starring Jodie Foster & Kali Reis, it's set in a remote Alaskan town during a winter spell of perpetual darkness, and follows an investigation into the mysterious disappearance of eight men at a research station. The visuals are stunning ... the performances are stunning ... the music is stunning. As well as boasting a suitably chilling score by Vince Pope, it also features a range of incredible needle drops and a title track by none other than Billie Elish.

Our guest this week is Max Richter - composer extraordinaire who has provided the music for Adam Sandler and Carey Mulligan's new film, Spaceman. Directed by Johan Renck, it tells the story of a Czech astronaut sent to the end of the solar system who encounters a creature that helps sort out his issues back on earth. We love having Max on the podcast, so brilliant is he at articulating the intricacies of composing a score. Enjoy!

What a treat we have for you today, as Denis Villeneuve & Hans Zimmer join me to discuss Dune 2. Denis and Hans were on cracking form as they discussed their second outing together adapting a book they both loved as children.

Our latest guest on Soundtracking is director Thea Sharrock, who joins me to discuss her hilarious new film, Wicked Little Letters. Based on a true story, Wicked Little Letters stars Olivia Coleman and Jessie Buckley, and sees the residents of Littlehampton start receiving missives filled with profanity, prompting a group of the town's women to investigate. It's scored with her usual aplomb by Isobel Waller-Bridge. 

We have a bonus episode for you, as director Fernando Meirelles and composer Ed Cortes join me to discuss the 21st Anniversary of City Of God. This is a film that was hugely important to Edith in her journey as a film fan - as she, like many other people, had never seen anything quite like it when it hit cinemas. In addition to Fernando's visual flair, Ed's score (which he put together with Antonio Pinto) is outstanding and super-cool.

Our latest guest on Soundtracking is composer Laura Karpman, who joined Edith to discuss her Oscar nominated score for American Fiction. Written and directed by first-timer Cord Jefferson (who picked up a BAFTA for Best Adapted Screenplay), it follows a frustrated novelist-professor who writes an outlandish satire of stereotypical 'black' books, only for it to be mistaken by the liberal elite for serious literature.

We have finally netted one of our white whales on Soundtracking, as after literally years of trying, Edith finally managed to get an opportunity to sit down with the one and only Martin Scorsese. Martin joins us to discuss Killers Of The Flower Moon, which is available to watch right now on Apple TV - though we ended up covering so much more than that - including Taxi Driver, Casino, Raging Bull, Mean Streets and The Last Waltz ... Mean Streets to 

We have a very special bonus episode of Soundtracking for you today, as Matthew Vaughn, Lorne Balfe, Giles Martin, Gary Barlow and Stuart Price join Edith to discuss the music of Argylle. As you'll hear, each made very specific contributions to the film, but channelled the spirit of collaboration to provide score, original songs and that new Beatles track! 

We have a Poor Things double-header for you today, as first Yorgos Lanthimos and Emma Stone join me to discuss their collaboration on the film, before their composer Jerskin Fendrix. As well as producing the film, Emma stars as Bella Baxter, a young woman in Victorian London , who is resurrected by a scientist following her suicide and embarks on an odyssey of self-discovery. It's the first time Yorgos has used a composer in the conventional sense, and also the first time Jerskin has written for film.

Our latest guests on Soundtracking are writer / director Andrew Haigh and composer Emilie Levienaise-Farrouch, who joined Edith to discuss their work on Andrew's film, All Of Us Strangers. We don't want to say to much about it if you haven't seen it yet, but it stars Andrew Scott, Paul Mescal, Jamie Bell and Claire Foy, and tells the story of a lonely gay man who mysteriously meets his parents on visiting his childhood home, despite the fact they died in a car crash when he was a young boy.

Our latest guests on Soundtracking are childhood friends Jamie Childs and James Drummond, who joined Edith to discuss Jamie's debut feature as a writer / director, Jackdaw. Set in Hartlepool, it follows an eventful night in the life of former motocross champion and army veteran, Jack, whose decision to take a job from a criminal results in all kinds of mayhem. Jamie enlisted James, who has a background in the music industry, as music supervisor, while the score is provided by Deadly Avenger & Si Begg. 

The last time we had our latest guest on the podcast, he was up for an EE BAFTA Rising Star award, which he duly won. How far Daniel Kaluuya has come since then? although, to be fair, he was quite some distance down the road alread. Now Daniel joins Edith to discuss his debut as a writer/director, The Kitchen. Music for the film is provided by Labrinth and Alex Baranowski, to whom we owe huge gratitude for providing us with as-yet unreleased cues of a Sunday morning, when he should have been reading the paper and eating croissants. Thank you, Alex! 

Our latest guest on this bonus episode of Soundtracking is Alexander Payne, who joined me to discuss his new film, The Holdovers. Set in the early 1970s, it stars Paul Giamatti as a strict teacher at a New England boarding school, who is forced to chaperone a handful of students with nowhere to go on Christmas break.

Our latest guest on Soundtracking is the wonderful Jodie Comer, who joined Edith to discuss her role in Mahalia Belo's new film, The End We Start From. Based on the book by Megan Hunter, it tells the story of a mother and her baby who flee London after an ecological crisis, and sees Jodie star alongside the likes of Benedict Cumberbatch, Katherine Waterstone and Mark Strong. They also talk about the music moments in Killing Eve, Free Guy & her stage play, Prima Facie.

2024 is rolling on in fine style here on Soundtracking - after Sofia Coppola kicked it off - as director George Clooney and his leading man Callum Turner join Edith to discuss The Boys In The Boat. Based on a true story, The Boys In The Boat is a classic sporting underdog tale, with the narrative charting a rowing crew from the University of Washington on their journey to the Berlin Olympics in 1936. It's scored by previous guest on the podcast, the genuinely great Alexandre Desplat 

Our first guest of 2024 is the wonderful Sofia Coppola, who joined us for a Soundtracking Everyman Film Club in front of a live audience to discuss her latest film, Priscilla. Based on her Priscilla's memoir, Elvis & Me, this tells the story of her complex relationship with the iconic musician.

Our gift to you this Christmas morning is Taika Waititi talking about his new film, Next Goal Wins.Based on a true story, Next Goal Wins stars Michael Fassbender as a coach charged with turning around the fortunes of the American Samoan national football team, widely regarded as one of the weakest in the world. 

Our latest Christmas present of a guest for you here on Soundtracking is the legendary Michael Mann, who joins Edith to discuss his biopic Ferrari, which follows the personal and professional struggles of Ferrari founder Enzo during the summer of 1957. Starring Adam Driver and Penelope Cruz, it has all the visceral thrills and visual thrust that you'd expect of a Michael Mann film about very fast cars, but also real emotional punch, particularly in the performances of Adam and Penelope as Enzo and his wife, Laura. Ferrari is scored by friend of the show Daniel Pemberton - who provided the music in around about a week!

Without wishing to sound unduly self-congratulatory, it is slightly mind-boggling to us that one week Edith gets to introduce Sam Esmail and Julia Roberts to you on the podcast, and the next Bradley Cooper and Carey Mulligan. Bradley and Carey joined us to discuss Maestro, which Bradley co-wrote and directed and focuses on the relationship between Leonard Bernstein and his wife, Felicia Montealegre. 

It's a Wonka special for you today, as writer director Paul King, songwriter Neil Hannon and composer Joby Talbot join Edith to discuss their origin story of the eccentric chocolate maker, who is brilliantly played by Timothée Chalamet. It's a beautiful, all-singing, all-dancing spectacular, with all the characteristic charm of Paul's work, and with fine contributions from Neil and Joby.

We can't quite believe I'm saying this, but our latest guests on this bonus episode of Soundtracking are Sam Esmail and ... Julia Roberts! We had a lovely wee chat about the music in their new movie, Leave The World Behind, which you can watch right now on Netflix. A deeply unsettling psychological thriller, it tells the story of a family whose holiday on Long Island is interrupted by two mysterious strangers bringing news of an imminent blackout.

Last week we had Mark Ronson, and this week it's the turn of another great producer, musician, and crate digger to join Edith on Soundtracking. David Holmes is back with new music in the shape of his album that sees him collaborate with Raven Violet. As as well as talking about that, we discuss his score and music supervision work for film and TV for the likes of Steven Soderbegh, and also his experience of producing Sinead O'Connor's final work, which has yet to be released. As you can see, we also got to meet his dog, Maisie ...

We're bringing you another of our Soundtracking Everyman Film Clubs today, recorded live following a screening of American Symphony in London. Edith was joined by married couple Jon Batiste and Suleika Jaouad and documentary maker Matthew Heineman to discuss their film, which chronicles a year in Jon and Suleika's life as he goes about creating the symphony of the title in the face of her potentially terminal leukemia diagnosis.

400! 400! We have reached 400 episodes. Holy cow. How did we do that? And what better way to celebrate it than with Mark Ronson - one of the greatest music producers in the world and now a composer of score. Mark joined me after I messaged him out of the blue to discuss his music for Barbie. What a legend. With no compulsion from a PR company, Mark gave Edith, and by proxy you, half an hour of his time to talk about Greta Gerwigs's brilliant film.

It's another bonus episode of Soundtracking during this particularly busy time, as Todd Haynes returns to the podcast for a fourth time to discuss his film, May December. A deliciously dark and unsettling drama, with lashings of beautifully observed comedy, May December tells the story of an actress who travels to meet and study the life of the controversial woman she is set to play in a film, with Natalie Portman and Julianne Moore exquisite in the leading roles. Interestingly, Marcelo Zarvos's music is a reworking of Michel Legrand's score for the 1971 film, The Go-Between. 

We are very excited to be bringing you the first of a series which we hope will be a  long-running addition to the podcast - namely the Soundtracking Everyman Film Club. This new project will see Edith get together with people who bring you a film ... their film ... and have a wee natter about it before or after a screening, and then share conversation with everyone who couldn't be in the room on that day in pod form. On this occasion, it's Emerald Fennell talking about the music of Saltburn, which is incredibly important to the movie's narrative drive, and an element, as you'll discover, she thinks an enormous amount about. As a bonus, Edith also caught up with her composer Anthony Willis, in an interview you'll get to hear after the conversation with Emerald.

We recently had Charlotte Regan on the podcast to discuss her brilliant debut feature, Scrapper, and we're following up on that episode with her composer Patrick Jonsson. Scrapper tells the story of 12-year-old Georgie and her estranged father Jason, who comes into her life for the first time after her mother dies. Told very much from Georgie's perspective, the music had to communicate her innocence and wonder - and also the childlike way in which she is dealing with her grief.

We have a double-header on our latest episode of Soundtracking - so busy are we at the moment. First up are writer/director Molly Manning Walker and songwriter, producer, DJ and composer James Jacob - who goes by the professional soubriquet of Jakwob. They join Edith to discuss Molly's powerful and important debut feature, How To Have Sex, which has already scooped a major award at Cannes. How To Have Sex deals with that very particular rite of passage for girls of a certain age, as three young female friends travel to Crete in search of sun, sand and, possibly, you know what ... We also have writer / director Kitty Green to talk about her psychological thriller, The Royal Hotel, which sees two backpackers land jobs in a remote Australian bar, with events uncoiling thereafter in a truly gripping and suspenseful fashion.

We are taking a deep dive into the music of Top Gun: Maverick in this bonus episode of Soundtracking, as editor Eddie Hamilton and music editor Cecile Tournesac join Edith to discuss their work on the film. Needless to say, this conversation features plenty of spoilers, but it's not one you'll want to listen to unless you've seen the film, so wonderfully granular is the detail they go into. They give us the stories behind the original songs, the needle-drops, the score and the sound design - and also serve up a rather lovely easter egg for you to look out for next time you watch the movie. Trust us when we say it is a BRILLIANT chat.

We can't quite believe our luck to have David Byrne, Chris Frantz, Tina Weymouth, and Jerry Harrison of Talking Heads to discuss the remastered re-release of their seminal concert film, Stop Making Sense. These guys are so lovely and humble and, of course, groundbreaking and brilliant, it really is a pleasure to bring you the interview - with a little taster of the live recordings from Jonathan Demme's film thrown in for good measure.

Our latest guest on Soundtracking is Garth Davis, who makes a welcome return to discuss his psychological sci-fi thriller, Foe. Based on the book by Iain Reid, it stars Saoirse Ronan and Paul Mescal as a couple whose life is turned upside down when a stranger arrives at their farm to tell them one of them will be sent to a space station, while the other will be left in the company of a robot. Unusually, Foe is scored by 3 composers, so find out right here what Garth had in mind with that decision ...

It's three for the price of one this week, as Edith is joined by writer / director Philip Barantini and composers Aaron May & David Ridley to discuss their collaboration of Phil's BBC television spinoff of his film, Boiling Point. Featuring many of the original cast, the episodic format allows Philip and his co-writers to flesh out the characters, as you can see by checking out the whole season on the BBC iPlayer right now.

Our latest guest on Soundtracking has scored one of films that has most profoundly affected Edith in recent years, such is the gravity of the subject matter. 20 Days in Mariupol is genuinely harrowing, but also genuinely necessary and important documentary, charting in quite heart-wronching fashion the besieging of the Ukrainian city during the Russian invasion. Jordan Dykstra composed the music for the film, and we're thrilled he took the time to talk to us.

As Edith has noted before, our latest guest on Soundtracking has effectively created his own genre of naturalistic musical cinema, in which the songs featured feel organically rooted in the landscape of the narrative. John Carney is the man who brought us Once and Sing Street - and now blesses us with Flora And Son, which you can watch on Apple TV and in selected cinemas. It tells the story of a mum struggling to deal with her rebellious son, whose fortunes start to change after she rescues a beat-up guitar from a skip. John enlisted the help of Gary Clark of Danny Wilson fame for the original songs and the score, and you'll hear examples of his music throughout the conversation.

Our latest guest on Soundtracking was also one of our very earliest, when he joined me to discuss his brilliant contribution to the Star Wars franchise, Rogue One. And Gareth is back with The Creator - which he wrote and directed, and is a quite simply extraordinary addition to the sci-fci canon. It's hard to tell you too much about it, aside from the fact that it puts a hugely compassionate twist on the classic battle between humans and machines and artificial intelligence. Oh yes, and it's scored by our old friend Hans Zimmer ...

We continue to celebrate independent film on Soundtracking this week in the company of Prasanna Puwanarajah and Niall Lawlor - respectively director and composer of Ballywalter, a bittersweet comedy set in the Northern Irish village, which counts among its stars Seána Kerslake and Patrick Kielty

She's back, with that infectious laugh of hers, and we couldn't be more delighted. Hildur Guðnadóttir is one of my very favourite composers of film music, and she joins me to discuss Kenneth Branagh's latest take on Agatha Christie, A Haunting In Venice. Darker and more claustrophobic than the previous two Poirot mysteries he directed and starred in, A Haunting In Venice sees the Belgian detective investigate a murder while attending a Halloween seance at a palazzo in the floating city.

Continuing our recent theme of featuring low-budget British films on Soundtracking, our latest guest is Charlotte Regan, writer and director of the superb Scrapper. Featuring a remarkable central performance by 11-year-old Lola Campbell, Scrapper tells the story of Georgia, who is forced to confront a new domestic reality when, among other things, her estranged father turns up out of nowhere. The film is scored by Patrick Jonsson, who was kind enough to share some of his as yet unreleased cues for us. 

For the second week running, we're celebrating a low budget British film. Last week, writer/director Neil Maskell and composer Andy Pettitt joined me to discuss Neil's Klokkenluider, while this week Ryan Hendrick is here to discuss his horror thriller, Mercy Falls. Set in the Scottish Highlands, it sees a group of friends head off in search of a long lost cabin, only for tragedy to strike and carnage to ensue. Mercy Falls is scored by Stephen Wright, and Ryan was very kind to furnish us with a couple of his yet unreleased cues.

Director Neil Maskell & Andy Pettitt of Shortwave Set fame join Edith to discuss Neil's writer / director debut, Klokkenluider, which also saw Andy make his first foray into writing screen music. It's a cracking chat with two pals who are simply thrilled to have collaborated on a film together.

We have something slightly different for you on our latest episode of Soundtracking, as I'm joined by producer Matthew Metcalfe and journalist and organised and cyber crime expert Misha Glenny, author of McMafia and Dark Market. They joined me separately to discuss Billion Dollar Heist, a documentary about one of the most daring cyber heists of all time - the Bangladeshi Central Bank Theft

Our latest episode of Soundtracking is with composer Paul Saunderson, who has scored the BBC documentary Earth, which is available to watch now on the BBC iPlayer. Hosted by the wonderful Chris Packham, the show explores some of the most significant moments in our planet's history, from asteroid bombardments to extreme changes in climate to the collision of continents, using groundbreaking science and effects. The fact there are informed recreations of seismic events in the past affords Paul plenty of scope to push the sonic envelope - almost as if he were scoring a science fiction film rather than a traditional documentary. The results are magnificent.

What a joy to welcome Ludwig Göransson back for a fourth time to reflect upon the incredible music he provided to Christopher Nolan for Oppenheimer. And in person, too!

In a change to our billed interview with Ludwig Göransson, we're putting out Edith's chat with Kathryn Ferguson. Kathryn directed the Sinéad O'Connor documentary, Nothing Compares, which very specifically concentrates on the tumultuous period in her life between 1987 and 1993, during which she became a global sensation, but also the victim of a character assassination in the media, having spoken out against abuse in the Catholic church. In a cruel twist of fate, Kathryn and Edith spoke just three days before Sinéad passed away, but - with Kathryn's blessing - we thought it timely that we share the story of the beautiful, powerful and illuminating film.

Recorded before the SAG strike began, our latest guest on Soundtracking is the legend that is Christopher Nolan. Criminally, it's the first opportunity Edith has had to speak to him on the podcast, so it was an absolute joy to welcome him on to discuss Oppenheimer, which sees him reunited with our good friend, Ludwig Göransson.

In an interview recorded before the actors strike began, Greta Gerwig returns to Soundtracking for a third time, to discuss the music of her extraordinary take on Barbie, which is witty, funny, smart and cerebral. Among the many points for discussion are Mark Ronson's involvement, who has a key hand to play in both the score and frankly incredible soundtrack.

Our guests today are Cécile Tournesac and Eddie Hamilton, who are respectively the music editor and editor of Mission Impossible: Dead Reckoning (Part I), directed by our old friend Christopher McQuaurrie, and scored by our even older friend, Lorne Balfe.

We love James Mangold, so it is a joy to welcome him back to Soundtracking to discuss the final instalment of the Indy saga, and, of course, the unsurpassable John Williams.

As promised, we have a bonus episode of Soundtracking for you this week, as the brilliant Charlie Brooker joins me to discuss the inimitable Black Mirror. All 6 episodes of the new season are available to watch on Netflix now, and do not disappoint. Music is a central part of the show, from the needle drops to the composers he's employed, including friends of the show Daniel Pemberton, Max Richter & Clint Mansell.

Bit of a legend alert for you now, as we welcome the genius that is Wes Anderson to Soundtracking. Wes's latest offering is quite difficult to describe in a few words. But suffice to say it is laugh-out-loud funny in parts, incredibly moving in others, features a terrific ensemble cast, and once again sees him work with composer Alexandre Desplat and our Jarvis Cocker.

We are celebrating the 50th anniversary of The Wicker Man this week in the company of Lesley Mackie and Gary Carpenter. Lesley appeared as Daisy, while Gary was the film's associate music director, who helped assemble the band Magnet, who performed the songs composed by Paul Giovanni.

It's a welcome return to Soundtracking to our very good friend, the composer Daniel Pemberton, who has provided the score for the simply sensational Spider-Man: Across The Spider-Verse. We'll hear plenty of Daniel's music from the film throughout the conversation, as well of fascinating insights into the process of making the score and the movie.

Our latest episode of Soundtracking sees us joined by two great friends who scooped the Camera d'Or at Cannes last year for best first feature  Riley Keough and Gina Gammell co-wrote, produced and directed War Pony, which tells the overlapping stories of two boys on the Pine Ridge Reservation - brilliantly played by Jojo Bapteise Whiting and Ladainian Crazy Thunder - and comes out in cinemas in the UK and Ireland on Friday.

Our latest guest on Soundtracking is the Icelandic composer, Atli Örvarsson, who has provide the score for the brilliant Apple TV show, Silo. With a cast led by the ever-excellent Rebecca Ferguson, the show is set in a dystopian future in which a community exists in a silo hundreds of stories beneath the ground. We also talk Eurovision, The Simpsons, and why Iceland is such a prolific producer of outstanding musicians.

We have not one but two guests on our latest episode of Soundtracking, in the shape of Rob Marshall and Alan Menken. Rob has reimagined the 1989 Disney classic, The Little Mermaid, in live action, while composer Alan Menken provided music for both. Edith sat down with Rob and Alan separately to dive deep into the score and songs.

Our latest guests on Soundtracking are two very talented women who have worked together on the music for A Small Light - the brilliantly-told story of Miep Gies, who helped Anne Frank's family and other Jewish refugees into hiding during World War 2. Ariel Marx provided the score, while Este Haim worked on contemporary reversionings of songs from the era with the likes of Sharon Van Etten, Angel Olsen, and her sister Danielle.

Our latest episode of Soundtracking is with Will Lovelace and Dylan Southern, who are the directors of Meet Me In The Bathroom. Based on Lizzy Goodman's book of the same name, the film tells the story of the rebirth of the New York rock scene at the turn of the Millennium, and features incredible documentary footage of bands like The Strokes, Yeah Yeah Yeahs, LCD Soundsystem and The M

We have 3 guests for you in our latest episode, discussing an extraordinary journey which saw the acclaimed English National Ballet's production of Creature transformed into a film during lockdown. Choreographed by Akram Khan with music from Vincenzo Lamagna, Creature is inspired by Georg Büchner’s expressionist classic Woyzeck, and has echoes of Frankenstein too. Now, our good friend Asif Kapadia has brought the original stage performance to our screens in spectacular style, aided by Vincenzo and editor Sylvie Landra

Our latest guests on Soundtracking are Rachel Weisz and Alice Birch, who together are instrumental in bringing us the TV remake of David Croneburg's classic chiller, Dead Ringers. As well as reprising the Jeremy Irons role as the central twins, Rachel also produced the show, while Alice developed the concept for Amazon Prime and was a driving force behind the script. Here they discuss some of their musical choices and decisions.

It's been one of the TV events of the year, and we're delighted to be celebrating its success with two of the composers who worked on it. Based on the 2013 video game, The Last Of Us tells the story of Ellie and Joel as they navigate a post-apocalyptic world in which a mass fungal outbreak has caused humanity to collapse, with the infected turned into bloodthirsty Zombie-like creatures. The game was scored by Gustavo Santaolalla, who returns to work alongside David Fleming on the HBO show - which you can watch on Sky and Now TV. 

Our latest guest on Soundtracking is the actor and director, Diego Luna. Diego is, of course, the star of Andor, which you can watch now on Disney +. If you haven't seen  season one yet, you need to change that right now so you're ready for season 2, which is currently in production. Hurrah! Here Diego discusses Nicholas Britell's score, the brilliance of showrunner Tony Gilroy, and why he believes his has been so popular with audiences and critics.

Our latest guest on Soundtracking is the very lovely, very charming and very brilliant actor, John Boyega. John can currently be seen in Breaking on home entertainment formats - a heist drama based on true events in which a financially stricken veteran threatens to blow up a bank unless he receives a payment he is owed from his time in the Marines. Such a treat to have him along, we hope you enjoy.

It's a welcome return to Soundtracking to Chad Stahelski and Keanu Reeves to discuss their work together on John Wick: Chapter 4. The pair have clearly had huge amounts of fun making this - and all - the John Wick films, and their passion for and dedication to building Wick-World is plain for all to see on screen. It's a great chat, which we very much hope you enjoy!

Our latest guest on Soundtracking is the super-smart, super-likeable and super-exciting young talent, Raine Allen-Miller - whose directorial debut feature Rye Lane brims with charm, wit, energy and panache. Set in Peckham and Brixton, it tells the story of Yas and Dom - two twenty-somethings who meet in the wake of their respective breakups and bond over the course of an exceedingly eventful day. Rye Lane is scored by the wonderful producer and composer Kwes - and we must say a big thanks to everyone at Warp Records for providing us with his as yet unreleased cues. Website: edithbowman.com Email: info@edithbowman.com Social Handle: @SoundtrackingUK

Our latest guest on Soundtracking is composer Rachel Portman. Rachel has just released an album of her film music re-versioned and performed by her called Beyond The Screen - Film Works On Piano, and it is a very lovely thing indeed.  The other reason we wanted to put out the interview this week is that Rachel was the first ever woman to collect an Oscar for composing - for Emma, back in 1996. Congratulations to all this year's winners!

358 episodes in, and the man who kicked it all off for Soundtracking returns for a third time. Jon Favreau was the very first guest Edith recorded for the podcast - for which we're forever grateful - and here he is again to discuss The Mandalorian, the brilliant show he created for Disney +. Season 3 is streaming weekly now.

358 episodes in, and the man who kicked it all off for Soundtracking returns for a third time. Jon Favreau was the very first guest Edith recorded for the podcast - for which we're forever grateful - and here he is again to discuss The Mandalorian, the brilliant show he created for Disney +. Season 3 is streaming weekly now.

Our latest guest on Soundtracking is Peyton Reed, director of Ant-Man & The Wasp: Quantumania. The third instalment of the series, it follows our eponymous heroes as they explore the magnificently realised Quantum realm, encountering all kinds of fantastical creature on the way As with the previous two films, Quantumania is scored by Christophe Beck

Our latest guests on Soundtracking are Ryan Lott, Rafiq Bhatia and Ian Chang, who come together under the banner of Son Lux. And under that banner, they provided the music for Daniels Kwan and Scheinert's mind-bending multiverse romp, Everything Everywhere All At Once. The score had to mirror the complexity of the narrative without confusing matters further. No mean feat, but one they manage to pull off with some considerable panache. 

Our latest guest on Soundtracking is Ben Caron a director who cut his teeth on TV shows such as The Crown and Andor, and has now directed his first film for Apple TV. It's called Sharper, and it is a twisty-turny tale where nothing is quite as it seems, which stars Julianne Moore, Sebastian Stan and John Lythgow, and is scored by our old friend Clint Mansell.

Our latest guest on Soundtracking is writer and director, Gina Prince-Bythewood, who's latest film The Woman King has deservedly been nominated for a ton of awards. Set in 1823, The Woman King tells the story of the Agojie, an all-female warrior unit that defended the West African kingdom of Dahomey from the 17th to 19th Centuries. The film is scored by former guest on this show, Terence Blanchard. 

Our latest guest on Soundtracking is someone we've been wanting to get on for a long time - not least because of his collaborations with friend of the show, Clint Mansell. Darren Aronofsky is a truly original and radical filmmaker, whose latest movie The Whale has seen Brendan Fraser receive widespread acclaim as a reclusive English teacher who is eating himself to death. The Whale is beautifully scored by Rob Simonsen - who has served up a haunting take on the nautical themes that underpin the movie.

Our latest guests on soundtracking must be pinching themselves, after the film they worked on together land a staggering 9 oscar nominations, including Best Picture and Best Score All Quiet On The Western front was adapted and directed by Edward Berger and scored by friend of the show Volker Bertelmann - and the recognition they're receiving is richly deserved. We're thrilled to welcome them to the podcast to talk so revealingly about their work.

The big names just keep on coming to Soundtracking - and today we're over the moon to be joined by Guillermo Del Toro and Alexandre Desplat to discuss their wonderful collaboration on Guillermo's take on Pinocchio, which is streaming now on Netflix. Set against the backdrop of the emergence of Facism in Italy, this is a bittersweet tale of the challenges of the father-son relationship which has a deeply personal feel to it - and certainly got Edith and her 9-year-old talking about the many profound themes it raises. As you'd expect, Alexandre's score is magnificent, and there's plenty of that sprinkled throughout the conversation too.

It's our 350th birthday, and what a way to celebrate it - with another bonus episode in the company of the legend that is James Cameron. James was on sparkling form as he joined Edith to discuss the music of Avatar: The Way Of Water and the 25th anniversary re-release of Titanic. There's also a bit of a news line in here too, regarding plans for the subsequent films ...

Fresh off the back of its huge success at the Golden Globes - and multiple BAFTA nominations - we're delighted to welcome The Banshees Of Inisherin composer Carter Burwell back to Soundtracking. Little did we know when we recorded this interview at the end of last year that the film would win best picture in a musical or comedy AND best screenplay for Martin McDonagh, as well as a best actor gong for Colin Farrell. Carter was pipped in the Best Score category by our last guest on Soundtracking, Justin Hurwitz, but that takes nothing away from the excellence of his work on the project

We have a bonus episode for you today, as two friends of the podcast return (separately, we should say) to discuss their work together on the extraordinary Babylon. Director Damien Chazelle and composer Justin Hurwitz have worked their magic once again, bringing to life a tale of decadence, depravity, and outrageous excess in 1920s Hollywood. What we do is share the interview with Justin first, as that goes into great detail about the music; then we'll get an overview from Damien about the score and the movie as a whole.

We've got an incredible run of guests coming up with you over the next fortnight - so much so that we'll be doing a couple of bonus episodes. But what a treat we have to kick off with today. Cate Blanchett is magnificent in Todd Field's new film, Tár, which charts the downfall of the eponymous composer and conductor, Lydia Tar. We won't say too much more about it, except for the fact that Cate has real musical chops, and puts her heart an soul into her incredible performance, and that it is scored by the wonderful Hildur Guonadottir

This might be a first for Soundtracking, but if it isn't, it certainly doesn't happen very often. For in speaking to Bones And All script writer David Kajganich, we've now completed the triumvirate of director Luca Guadagnino and composers Trent Reznor and Atticus Ross. David is so insightful about the process, and also how music is fundamentally important to it. It's a fascinating listen. We're also giving away a pair of tickets to a screening of The Fabelmans in this episode - so have a listen to find out how to win!

Having chatted to Daniel Craig on the podcast a couple of weeks ago, we're delighted to share Edith's conversation with Rian Johnson, the writer and director of Glass Onion: A Knives Out Mystery. Rian is a great lover of music, and we'll hear about his thinking when it came to the sound of this film - both in terms of the needle drops and the score, which was provided by his cousin, Nathan Johnson.

Now, Christmas week is just about to get a whole lot cooler, as we welcome Trent Reznor and Atticus Ross to Soundtracking for a second time Edith LOVES talking to this dynamic duo about film music, and the good news is we have two of their scores to unpack: the first being for Luca Guadagnino's Bones And All and the second for Sam Mendes' Empire Of Light.

If you harbour ambitions to write film scripts, you must listen to this - a very welcome return to the podcast to Krysty Wilson-Cairns, who joins us discuss her truly excellent Netflix vehicle, The Good Nurse. Starring Jessica Chastain and Eddie Redmayne, The Good Nurse tells the story of Amy Loughren, a night nurse who suspects that her co-worker is the serial killer Charles Cullen.  Perhaps more importantly for our purposes, Krysty offers a truly fascinating insight into the creative workings of the screenwriter. Merry Christmas, everyone!!!

Bonus episodes of Soundtracking abound this festive season with so many great film offerings out there - one of which is Glass Onion: A Knives Out Mystery So it is that we welcome Daniel Craig to the podcast to discuss his relationship with music and his role as the returning master detective Benoit Blanc in Rian Johnson's smart comedic mystery - soon to be showing on Netflix We don't want to say too much about the plot, but suffice to say it has all the humour, twists and turns of the first film, with an incredible ensemble cast including Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, Kate Hudson, and Dave Bautista.

Very excited about our latest guest on Soundtracking - the Mexican filmmaker Alejandro González Iñárritu  Alejandro's latest offering is Bardo: False Chronicle Of A Handful Of Truths - a semi-autobiographical tale that follows a journalist & documentarian who returns to his native country of Mexico and begins having an existential crisis in the form of dreamlike visions. As well as co-writing and directing the film, Alejandro also collaborated with friend of the pod Bryce Dessner on the score

There are so many cracking releases at the moment, we getting as much out to you as we can in something of a festive giveaway. We dropped Michael Giacchino earlier in the week, and now we bring you Frances O'Connor and Abel Korzeniowski, who joined me to discuss Emily. Frances wrote and directed the film, while Abel provided the score. It's a fictionalised version of the life of Emily Bronte, and concentrates on her romantic relationship with the curate William Weightman - there is no evidence that such a relationship ever occurred.

We are dropping two episodes of Soundtracking for you today - the first being with composer and director, Michael Giacchino Michael performed both duties for Marvel Studio's Werewolf By Night, which is a sly modern take on the classic monster movies of yesteryear. That's right. Directed. And scored. What a total dude. One of our favourite ever guests! And that hoodie ...

It's always lovely talking to actors on Soundtracking to get their perspective on music, and we have one for you in our latest episode in the shape of Violent Night star, David Harbour. Violent Night sees David star as a Father Christmas who is anything but the traditional image of cheery, rosy-cheeked, white bearded old man.  David also discusses the distinctive sound of Stranger Things, and his fondness for Counting Crows, which is something of an embarrassment to him when he's hanging out with his cool East Village pals.

Last time we had our latest guest on the podcast was when he was kind enough to join Edith for a Soundtracking Live at the BFI on London's South Bank. That was more of a career retrospective; this time, Tim Burton is here to talk about Wednesday, his first foray into making a television series. As is so often the case with Tim's work, Wednesday is scored by the great Danny Elfman, ably supported by Chris Bacon. There are also a couple of delicious needle-drops up for discussion.

It's a welcome return to Soundtracking for Luca Guadagnino, a writer and director who always talks so eloquently and revealingly about the music in his films.  His latest project is Bones And All. The ensemble cast features Timonthee Chalamet, Taylor Russell and Mark Rylance in what is part horror, part romantic road movie and part period drama. Bones and All is scored by Atticus Ross and Trent Reznor - or A & T as Luca describes them - who will themselves be joining us soon.

Thrilled to have another director / composer combo on Soundtracking this week in the shape of Sebastian Lelio and Matthew Herbert, who have joined forces on the Chilean writer/director's latest film, The Wonder. Starring Florence Pugh, it follows an English nurse sent to an Irish village in the 1860s to observe a young girl who is seemingly able to survive without eating. It's an amazing experience, narratively, visually and sonically, so we highly recommnend you dive in.

It's one of those episodes of Soundtracking which we love so much, in which Edith gets to pick the brains of an up-and-coming filmmaker who's just beginning their journey in the industry. Charlotte Wells's debut feature Aftersun is an absolutely beautiful piece of work, telling the story of Sophie as she reflects upon a holiday with her then young father they took together 20 years earlier. As well as containing countless fantastic needle drops, Aftersun is also expertly scored by Oliver Coates, who very kindly furnished us with cues from his as yet unreleased score. Cheers, Oliver!

Bonus episode time with Ryan Coogler, director of the new Black Panther film, Wakanda Forever. The film's release is obviously hugely bittersweet for all involved with the sad passing of Chadwick Boseman - but, boy, have Ryan and the exceptional cast done his memory proud. Here he discusses Chadwick's legacy and the tonal influence his death has had on narrative, as well as the excellent soundtrack and Ludwig Goransson's score.

Anyone who knows Edith knows she is a massive fan of what Disney + is doing with Star Wars world-building, from the Mandalorian to Obi Wan Kenobi. Andor is no exception, taking the franchise in an altogether new direction with its visual palate, narrative pacing and Orwellian undertones. So it was a genuine thrill to spend a bit of time with show creator, Tony Gilroy, who also co-wrote Rogue One. Andor is scored by our old friend Nicholas Britell, and you'll hear plenty of his music throughout the conversation.