Downs is well-positioned to speak on such crises, starring as Deborah’s agent Jimmy, whose desperate attempts to keep his agency afloat throughout season four see him enlisting the talents of a content creator known simply as “Dance Mom” (Julianne Nicholson), and making calls to the office of Governor Gavin Newsom in order to save a struggling industry.

“Whether you’re in entertainment or not, you recognize the changes in our country and what it means to be living in late-stage capitalism and how hard that is,” says Downs.

While Hacks has been shot in Los Angeles since the beginning, its more recent embrace of the city as its proper setting has afforded Downs a lot of fun in representing the city he calls home onscreen.

“We wanted to highlight a lot of places that are near and dear to us,” says Downs.

One such place is The Americana in Glendale, which Kayla (Megan Stalter) affectionately – and to be fair, accurately – refers to as an “outdoor mall” when pitching it to Ava (Hannah Einbinder) as her unorthodox new home.

“It seems kind of like a dream to live at The Americana,” says Downs. “And also it was weirdly apropos to have Ava kind of live in a Cheesecake Factory, since that’s a callback to what she says to Deborah in the pilot.”

Season four brings several moments such as that one full circle, ultimately reflecting on Downs’ experience creating television alongside fellow showrunners Statsky and Aniello.

“The season was a meditation on not only what it means to make television, but also we were thinking a lot about the ways in which the industry has been changing,” says Downs. “Episode 9 ‘A Slippery Slope’ is literally about the slippery slope of what has happened to the entertainment industry with the disruptions of big tech.”

One might imagine how those conversations are personal for a creator like Downs, whose show has thrived in a legacy media environment like HBO Max, even as the streamer has overcome its own identity crises in this age of tech and entertainment convergence.

Check out my full conversation with Downs below, where we discuss all this and more, even highlighting a few of Downs personal favorite shooting locations in Los Angeles.

The post Interview: Paul W. Downs on Representing Los Angeles in ‘Hacks’ appeared first on Awards Radar.

Baird describes it as “the ambience where you fear someone is whispering about you behind your back. You can’t hear it but you just sense it.”

As one might imagine, Conclave has taken on newfound relevance in the wake of Pope Francis’ death and the ensuing election of Pope Leo XIV. Tracking firm Luminate estimates that streaming viewership for the film jumped 3,200% after the passing of Pope Francis in late April. Naturally, Baird’s creative process was intertwined with the Catholic Church throughout his time working on Conclave.

“We were allowed a lot of space to explore ideas and to try things out, even going to Rome to hear what it sounds like when the Pope is in town and making a speech,” says Baird.

Of course, the Oscar-winning film is just one of several acclaimed projects that Baird and his team have worked on over the years. His soundscapes played an equally pivotal role in the 2025 release Last Breath, not to mention the documentary of the same name that preceded it. Director Alex Parkinson relied heavily on the sound team in transforming his documentary into a scripted feature.

“We had many discussions on how to bring cinematic depth and dynamics to the film,” says Baird. “A TV documentary often lives in fear of the channel being changed but with the cinema, the audience has elected to be there, so you have more time to take risks.”

Those risks involved the nixing of a gorgeously epic score that was composed for the film’s most pivotal moment: the snapping of diver Chris Lemons’ (Finn Cole) umbilical cord. Baird saw an opportunity to capture the magnitude and horror of this moment not with sweeping sound, but with sobering silence.

“The idea being that when he was cut off, he was cut off from our world, the observers as well as the people in the film,” explains Baird.

Other recent projects include the star-studded British romance Four Letters of Love and the forthcoming Scottish Samurai drama Tornado. With museum installations and even the FIFA video games to his name, Baird truly cannot be pinned down creatively. Still, he is proud of where his strengths lie.

“I do seem to have found a sweet spot for using silence in tense thrillers for the moment,” says Baird. “When you see people stop eating popcorn in the cinema because they are gripped by what is going on, that’s probably the best.”

Check out our full conversation with Ben Baird of Aquarium Studios below!

Conclave was one of the most acclaimed films of 2024, and is now receiving yet another rise in viewership with the recent election of Pope Leo XIV. As Sound Designer, you helped craft the world in which audiences watch this tense decision-making process unfold. Can you walk us through the demands of the project?

“Conspiratorial silence” was in many ways the watchword for the sound of Conclave. Before I go into this, it needs to be pointed out that the location sound recording that Valentino Gianni had done was exceptional, and rather than having a constant battle to repair and make the dialogue sound audible, we had some of the most beautiful recordings that I had experienced so far. Key to this was preparation. Edward Berger, the director, allowed the time and space for the costume and sound departments to work together to allow for the cleanest and most accurate capture of the production audio. I believe that Ralph Fiennes’s cassock had 4 pockets built in to hide 4 microphones in strategic positions on his body.

Conspiratorial silence is the ambience where you fear someone is whispering about you behind your back. You can’t hear it but just sense it. We wanted to create this feeling that in the corners and behind pillars, people are conspiring – treachery is being concocted. With a beautifully clean dialogue track, this is a joy. In between words there is nothing other than the tiny, foleyed details. The tiny clink of a metal cross, the squeak of a trainer on a marble floor – there is a claustrophobia that is created even in the large spaces of the Vatican.

In the centre of this is Dean Lawrence (Ralph Fiennes), who has the weight of the world on his shoulders. We wanted to enhance this weight, so he spent best part of a day recording his breath for every scene, so that we can really feel him and what he is feeling – so that, in a way, the audience becomes part of that worldly weight on his shoulders – to bring a physical connection to what he is feeling.

In the centre of the film is the scene where he breaks into the Pope’s chamber. In the script, while he is in there, Sister Agnes (Isabella Rossillini) arrives at the other side of the door, and senses that Lawrence is in the room so decides not to interrupt him as what he is up to is probably in the best interests of the Conclave. We wanted the chamber to be absolutely silent, so that you can feel Lawrence searching the room but also sense the arrival of Sister Agnes outside and focus on their breathing to transmit the unspoken communication between the two. In order to get to this place, as we progress through the film, it goes from fairly busy and noisy with each location having some kind of background and then when Lawrence closes the door behind him as he enters the chamber, we end up with no ambient sound, only the noises that he makes. It draws the audience right into his world. The hallway outside has a faint hum of the lights so when we cut to Sister Agnes outside, we can feel the difference. In many ways, this scene was the defining scene for the overall sound of the film.

To answer your question, the process of making the soundtrack for this film was simply joyful and very interesting. Edward and Nick Emerson, the editor, were very much on the sound design team. We were allowed a lot of space to explore ideas and to try things out, even going to Rome to hear what it sounds like when the Pope is in town and making a speech. Jack Wensley was working on the dialogues, assisted by Naomi Graham. They had the very hectic task of recording all the background conversations and to make them feel real. Edward had said that everything in the film was to be prepared and nothing improvised, so all the background crowd scenes were written. We were even allowed to get the main cast, John Lithgow, Stanley Tucci, Sergio Castellitto, Lucian Msamati to be involved in the background conversation records. Rob Price and his team did a wonderful job with the foley. The detail on the crosses, the trainers, the wax seal, and my favorite, the book that Dean Lawrence opens when he is snooping around the Pope’s room. Jamie McPhee and Alexej Mungersdorff, with whom we have worked with for many years, helped build the deep background that gave the sense of the magnitude of the situation, but would also drop into silence when tension was required.

What was your reaction to Conclave’s continuous rise in popularity and acclaim throughout 2024 and the early part of 2025?

In most of the work that we’re involved in, a few friends and family would message me and mention they saw my name and that they thought it was good, or ok, or have some advice. With Conclave, it has been everyone I have known letting me know how much they enjoyed the film. Working on something that is popular has been a tremendous ride. Also, all the conversations, like this one, that I have had talking about the work on the film has been terrific. It turns out I like the sound of my own voice and sitting in a cinema or in a Q&A with a microphone is brilliant fun.

You also worked on a pair of period pieces starring Florence Pugh in Lady Macbeth (2016) and The Wonder (2022). Can you describe the creative process behind crafting the soundscapes for those films?

Lady Macbeth was very much a milestone in the company’s history. Aquarium Studios was started in order to make soundtracks for feature films and there had been a few films up to this point but Lady Macbeth seems to mark where the focus moved to cinema entertainment.

It was a great opportunity to work on this micro-budget feature with an impressive cast and a great director in William Oldroyd. There was a very early sound design meeting where it was decided to not really have a score. A strong influence at this point was No Country for Old Men. There is one moment, I think, in the film, where there is a musical tone that is used to mark a particular point, so we adopted the idea of a single musical tone to mark the key turning points in Florence Pugh’s journey. The ambience was to be claustrophobic – and silence was adopted as the most claustrophobic option. Except for the moments where her husband and father in law go away and she opens a window to let the wind in, the majority of the backgrounds are silent. The idea of micro-details that were foleyed to create the sound and the resonance of voices and those details in the rooms made up most of the sound. Without the warm reminder that “it’s a film” from a musical score, the film does feel incredibly brutal at times. Again, silence lends itself to being a period piece as there are no planes, cars etc. The film was shot not far from a road, so there was a bit of a challenge to clean up the dialogue. There was a little ADR though it was also discovered that Florence Pugh can perform the sounds of a child being suffocated extremely well, which came in handy for the end of the film.

For The Wonder, we had worked with the director, Sebastian Lelio, on a previous film, Disobedience. Sebastian was not keen on ADR at the time and during that film, which was set in Hendon, in north London, we wanted to build the sense of a bubble in the area, so again, silence played a part in creating this bubble. It meant that some scenes had to be ADR’d for the traffic noise but he was very happy with the results. Hence, when it came to The Wonder, he was fully open to the opportunities that ADR would allow. One scene where she tries to feed the child was originally filmed with everyone shouting but we tried the idea of ADRing it all as a whisper. The anger in the facial expressions, combined with trying not to be heard did make the scene more powerful. We also were able to record a breathing track for Florence Pugh for the entire film, which we used to bring us closer to the character and learned the power of breathing to put the audience on the shoulders of the actor. The film was shot in the middle of the countryside in Ireland, so we didn’t really have to worry about modern day sounds. Another interesting element was working with Matthew Herbert who was keen to connect the ambience with the score. There’s a clock ticking sequence that shows that most clearly but the work was continued when we worked together on Daniel Koktajlo’s Starve Acre, where the lines between where score starts and ambience stops are quite blurred in places.

You played a vital role in shaping the harrowing underwater soundscape of Last Breath, the incredible true story adapted from the documentary of the same name, which you also worked on. I’d love to know more about how those experiences compared to one another, and how your approach might differ between a feature film and a documentary experience?

I have always felt that regardless of whether it’s a documentary, drama, game or exhibit, sound is part of telling the story that the director wants to tell. Obviously with documentary, there is a truth that should be adhered to but otherwise, it is about having an emotional impact on the audience. Making the documentary version of Last Breath was a learning experience. The director, Alex Parkinson, had made many documentaries but not for the cinema. So, we had many discussions on how to bring cinematic depth and dynamics to the film. A TV documentary often lives in fear of the channel being changed but with the cinema, the audience has elected to be there, so you have more time to take risks.

The ship that this all happens on is pretty functional and with the documentary, it was about finding the line where we can heighten the human experience without telling lies. There were little details like the CCTV to the Sat chambers always had sound on, so you felt connected to the divers. Also, there was a lot of foley done to enhance all the work, to make it as dramatic without again, telling lies. The main element was around the umbilical snapping. There had been a huge score written to cover this but during the process of mixing the film, we had already thought about having more space and a little less score, so that it carried more impact when it was there. So in this climactic moment, I wanted to try cutting everything, including the music at the point of severance. The idea being that when he was cut off, he was cut off from our world, the observers as well as the people in the film. It is a subtle fourth wall breaker but when it was shown to audiences, it was a major impact that was often referred to.

So, when we started work on the drama version in 2023, the umbilical was to break in the same way. It was interesting working on the drama version of the film because you realise that in a documentary, you can have voiceover and interviews to tell you what happens whereas in the drama, you can only really do it by watching and listening to incidental conversations. For the sounds, though, it was interesting that a lot of the sounds that we had created for the documentary were the basis for the sounds in the drama. The key additions was the engines for the boat – it had seven motors that would keep the boat stationary, even in storms and they fluctuate all the time as they are compensating for the movement of the sea, so we felt it important to set up this feeling from the beginning so that when the engines failed, you could suddenly feel their loss. Also, a key part, once again, was breathing. Especially Chris Lemon’s breathing. He gets stuck on the bottom of the ocean and runs out of oxygen, so it was important to make the human connection to his breath from when he puts his helmet on. The authentic sound is very mechanical and very un-human, so we made Finn Cole (Chris) breath for the entire underwater sequences and so you can really feel when he has his last breath. And of course, the breaking of the umbilical was a cut to complete silence as it was in the documentary and it too seems to impact the audience effectively.

You also designed the sound on Four Letters of Love, a moving British romance starring the legendary trio of Pierce Brosnan, Helena Bonham Carter, and Gabriel Byrne. What was it like working on a project with such a star-studded cast and crafting the sonic landscape for them to play in?

It was great. There have been a few films lately where I have been able to work with people whom I first came across before I worked in the industry. I remember watching Remington Steele with my granny in the 80s, and after Goldeneye, Pearce Brosnan became a household name. Helena Bonham Carter has always been a brilliant actor and Room with a View was a very early date night at the cinema. I have done many projects with Gabriel Byrne and have always enjoyed them. Recently, Dance First where he plays Samuel Beckett was also a great working experience but also, the recent series of War of the Worlds was great fun and because nearly everyone was gone, it was a good opportunity to do some very tense silence – which, even though it was for TV, seemed to work pretty effectively. Also, recently I did the sound for The Great Escaper with Michael Caine and Glenda Jackson and that was absolutely terrific.

As to the soundscape of Four Letters of Love, the sound really had multiple tasks to perform. Firstly, the film was set in two locations – Dublin and the West of Ireland, so as the film would change from one to the other, it was important to feel the difference in the places. Anna Sulley, who looked after the sound effects on this film, did a great job in accentuating these required differences. Secondly, the film was set in the 70s and so it was also important to give a feel for the time. Obviously cars with their older engines but also we spent quite a lot of time working with the music super to create the right kind of music for the time that would be playing in the background – be it on the radio or in the bars. Also, the film had a magic element, though not to be expressed too strongly. To give the feeling of maybe there’s magic involved or maybe it’s simply coincidence. In the film, the brother plays the Irish whistle, so we used that, overlaid with wind and a bit of flute to create a sound that could hint at the magic at key points but it would also blend into the background and score, so it could be as subtle as we wanted it.

You have worked across a wide variety of genres. Do you have a favorite genre in which you prefer to work?

Indeed, I have worked on everything from museum installations to computer games, TV fantasy to drama to documentaries, and feature films from horror to romance via quite a few thrillers. With all of them, the idea is to tell a story and the sound helps to do that. When it works, it’s great and totally satisfying. So whether it’s putting the sound of rockets in for The London Planetarium, crowds and commentary for the FIFA football game, sword fights for Merlin, the waves for the tsunami, screams that make you jump or ambiences that feel tense, I enjoy them all. But I do seem to have found a sweet spot for using silence in tense thrillers for the moment….when you see people stop eating popcorn in the cinema because they are gripped by what is going on, that’s probably the best.

I am also intrigued by your upcoming work on John Maclean’s crime saga Tornado. Can you tell us more about your approach to the sound design for that particular project?

Tornado is a Samurai film set in Scotland. I spent a bit of time reacquainting myself with some historic Samurai films. The scenes in Tornado did tend to be windy but I was keen to keep a bit of a sense of wind as a theme for the main character, who is called Tornado. So, it was an interesting challenge to find wind sounds that would work for the various ambiences while also being able to keep a bit of a different sounding wind for Tornado’s theme. Within this setting, the baddies needed to have weight, so the foley on them was particularly heavy. There is an accordion player with a squeeze box strapped to his back, so to bring a small spot of lightness, his instrument would utter the odd exasperation at a few key moments. The main task was to get Tim Roth’s performance clear. He had done this subdued yet powerful delivery which was covered in wind, so a lot of work was done to expose this performance and bring it forward to give it weight.

I tend to make cuts hard. I am not a big fan of crossfades unless there is a particular reason for it. In this film in particular, hard cuts between scenes and shots gave the edits an extra energy and added brutality to the film.

The post Interview: ‘Conclave’ Sound Designer Ben Baird Reflects on Oscar Drama’s Enduring Relevance appeared first on Awards Radar.

“I hope that our Emmy win helps push the industry to recognize how so much of its music is made, and embrace the idea that a team of composers can create an award-winning score,” says Claeys, who served as Bear’s lead composer on the series. “The truth is we’re not the first team to do it—just one of the first to be credited.”

Claeys’ role as lead composer/score producer on Percy Jackson required him to not only make his own musical contributions to the project, but also identify the strengths of his co-composers, delineating responsibilities and cues accordingly. Côté’s background scoring adrenaline-fueled projects like Halo and Call of Duty: Vanguard for Sparks & Shadows made him the perfect choice to work on some of Percy Jackson‘s most action-packed and creature-heavy sequences, while Hartov’s prowess as an indie film composer lent him a knack for the series’ more sentimental moments. Although Claeys was tasked with ensuring the score cohered into one consistent sound, he and McCreary also encouraged the team to think outside of the box.

“Although our main palette was orchestra, we often use soloists and sound design to create unique and memorable motifs,” says Hartov. “For Hades, we composed melodies for the yayli tanbur, played by the great Malachai Bandy, and accompanied it with dark, brooding choir and brass. Hermes was accompanied by ticking clocks and other motorized sounds.”

Another point of pride for McCreary and the entire Sparks & Shadows team is the live recording of the score right in Los Angeles.

“The music wouldn’t hit the same way without our live orchestra,” says Côté’. “We had the opportunity to record here in Los Angeles with some of the best players in the world, and their contribution can’t be understated. Live players add a humanity to music that’s hard to describe; you just feel it, and it absolutely elevates the music to the next level.”

Check out our full conversation with Claeys, Côté, and Hartov below. All three men are among the most exciting young composers in film/TV, and offer special insight on not only their own careers, but also their unique relationships with an immense talent like Bear McCreary.

Hey guys! Congrats on your recent win at the Children’s & Family Emmys. What was your initial reaction to such a major career milestone?

Brian Claeys: It was pretty surreal—and definitely not something we were thinking about when we started working on the score back in 2023. Being able to go on stage and accept the Emmy as a team was really special. There are so many incredible composers and scores out there, so while I always believed we made something great, I never expected to actually win an Emmy. It meant the world to have the trust that was placed in me and the team validated like that.

Alexandre Côté: Totally agree with Brian, it was really a total surprise. I feel incredibly grateful towards all of my teachers and mentors, and especially to Bear [McCreary] for believing in us. This is a really exciting recognition that we’re honored to accept on behalf of the entire music team, including the orchestrators, mixing team, and of course the players themselves. 

Jesse Hartov: It was an extraordinary experience to receive this award as a team, and we’re immensely grateful. It was also really special to spend an evening celebrating children’s and family media, and meeting many talented folks working in this field. 

Your Emmy win was also one-of-a-kind in that it was awarded to your entire team at Sparks & Shadows. How does the composition process differ when the score is crafted by a team such as yours?

JH: Composing as a team is a collaborative experience, and the ability to bounce ideas off of each other is both motivating and rewarding. Composing can sometimes be isolating – working in your “cave” and plugging away at your DAW. But writing on a team is more analogous to being in a band, and getting to react to your co-composers’ musicality.

AC: It’s really cool to listen to everyone’s work because it gives me a fresh perspective on how to approach a scene. We all have musical tricks we fall back on from time to time, which – while helpful – can start to feel stale. Being part of a team opens the opportunity to be inspired and learn from each other, and grow as a composer.

BC: The Emmy nomination and win being credited to a team like Sparks and Shadows was pretty special, but only made possible because of Bear’s deliberate effort to have the team credited on the show—something that’s very uncommon in the industry. He’s spoken about this in recent interviews, but the reality is that most modern film and TV scores are the work of a team like the one we had on Percy, not an individual composer as is usually credited. Not to say that there aren’t scores where that’s not the case, or where the lion’s share of the work is in fact done by one individual. The truth is that many writers contribute to many scores, but many of those composers are never credited. 

In my experience this isn’t necessarily due to bad intentions, but to the demands of modern scoring: fast turnarounds, high production expectations, and the sheer volume of music required. What do you do when you need to re-write an entire episode overnight? If you’re working alone, the answer is: you can’t. This kind of thing came up on Percy when the schedule became extremely tight towards the end of season one, resulting in us having to write the finale in just four days. Despite the crunch, in my opinion that episode has some of the best music in the entire season. 

Even with more ideal deadlines, you’ll never have an endless amount of writing time. But if you have a singular vision, good themes, and an established musical palette, working with a team allows every cue to receive the maximum amount of time and effort possible—and still feel consistent with the rest of the score. I hope that our Emmy win helps push the industry to recognize how so much of its music is made, and embrace the idea that a team of composers can create an award-winning score; because the truth is we’re not the first team to do it—just one of the first to be credited.

The Sparks & Shadows team is led by acclaimed composer Bear McCreary. How has Bear’s style shaped your own musical sensibilities?

BC: Bear’s been an incredible mentor to me for basically my entire career, as I began working at Sparks & Shadows only a week after moving to LA in 2019. Over the years I’ve learned so much, a lot just from being around and involved in the production of so many different scores. One of the biggest things Bear emphasizes is the importance of collaboration between composer and filmmaker—how to realize their vision and tell a story through music. It’s easy to get lost in the technical details of scoring, but in the end, the music only works if it’s serving the story. And that only happens if you’re asking the right questions—both to the director and to yourself.

AC: To me, Bear’s style is all about being bold, and I’ve tried to take that ethos into every cue and every project. So when I start a piece of music, I’m always thinking; “how do I convey this musical idea as clearly and confidently as possible?”. I would rather take a big swing musically and be wrong than take a half-hearted approach and be right. I’m incredibly grateful that I’ve gotten to see how Bear approaches the orchestra, and incorporate his ideas into my music.

JH: Bear is not only a brilliant composer, but a master at dramatic storytelling. I’ve learned a lot from him about narratively supporting what’s going on on-screen, and making sure that the cue you’re writing is achieving the story’s goals. But with that said, any cue that Bear writes is going to have a developed musicality to it–a style of its own, and a language of its own. Achieving all of those things in a cue takes practice and skill, and it’s a privilege getting to learn that from Bear.

What was the division of labor like while scoring Percy Jackson & The Olympians? Could you each describe your individual contributions to the project?

BC: I had the privilege of working as Bear’s lead composer on Percy, but when it came to actually writing the music, we were all in it together. Each composer wrote cues that only they could write and contributed in an irreplaceable way to the score.That’s the heart of the score, but there’s a lot more that goes into it as well. Spotting, orchestrating, recording, mixing, music editing, there’s a ton of other people involved and a lot of moving parts, especially when you’re doing it all eight times in a row over the span of a few months.

As lead composer, I was essentially the point person for Sparks and Shadows and responsible for making sure everyone involved was set up for success. I would spot each episode with Bear and the showrunners, after which I’d then assign cues to the team and make sure everyone had the information they needed to approach each scene. I also had to look at each cue and evaluate how it fit into the bigger picture of the episode and/or score. Each composer needed to be on the same page when it came to the overall musical direction and development throughout the season. It was my job to make sure that was the case and that the resulting score felt cohesive and was what the showrunners were looking for. I was also in charge of producing the recording sessions and reviewing the final mixes before they went to the stage, but it was always great to have the writers involved in each of those opportunities when it came to their cues as well. 

AC: A lot of my effort went into defining the musical language for the monsters. In the first episode, one of the cues I composed was the Minotaur chase sequence, and Bear, Brian and I spent days adjusting and tweaking the music so we would have a robust palette to pull from as we encountered more monsters in the season.

I also got the opportunity to write music for the Olympus scenes in the season finale. We wanted it to feel lonely, empty, but with an ancient elegance to it. I drew a lot of inspiration from Gregorian chants and created a rigid sound that we hadn’t heard yet this season. It was great to take the lead on these aspects of our score, and refine it with the team. Once the music is approved, we all work with the orchestrators and musicians to take it from computer to recording stage.

JH: I had the opportunity to work on developing sonic palettes for several notable characters, which was a blast. Although our main palette was orchestra, we often use soloists and sound design to create unique and memorable motifs. For Hades, we composed melodies for the yayli tanbur, played by the great Malachai Bandy, and accompanied it with dark, brooding choir and brass. Hermes was accompanied by ticking clocks and other motorized sounds. Motifs and themes are an area where we want each character to have a sound world of their own, and thinking outside the box often gets us there.

Brian – As the score producer on the series, how did you identify and assign each musical cue to the other members of the Percy Jackson team?

BC: One of the cool things about creating a score as a team is that no two composers would write the same cue the same way. Everyone could’ve done a great version of any cue—but having worked with each of them before, I usually had a good sense of who would be the best fit for a specific scene. Different cues demand a different touch and style, even within the cohesive sound of the overall score, so it was helpful to already have an idea of which writer would be best suited to tackle a cue based on my experience with their unique style and voice.

At the same time, I definitely didn’t want to pigeonhole anyone or deny someone the chance to try something different. Everyone on the team brought a lot to the table and really immersed themselves in the score, so I tried to stay open to mixing things up if someone felt strongly about writing a particular cue.

Can you each share a personal favorite musical moment in the series?

JH: The Ares battle in the season finale was one of my favorite sequences to score. We had the opportunity to bring back so many themes and leitmotifs in this sequence, and really turn things “up to 11.” Getting to be bold thematically is one of my favorite aspects of working on Percy.

BC: I feel like on almost every episode there was a cue that kept me in the studio for 24-48 hours straight—but those were often my favorite cues in the whole show. It’s hard to choose, but if I had to pick I’d say that the two scenes with Poseidon—one with Sally in episode seven and one with Percy in episode eight—mean the most to me. Those scenes are so beautifully shot, written, and acted, and I really wanted the music to rise to that level. I’m really proud of how those cues turned out and how they support two of the emotional climaxes of the season.

AC: For me, it would have to be the moment in the finale when Percy, Grover, and Annabeth part ways after the quest is over. It’s the emotional climax of the season that shows a softer and more vulnerable side to the trio, as they each reflect on their journey and look towards the future. It’s quite bittersweet, and I wanted to give this scene the impact it deserves.

Musically, it was an opportunity to weave all of our character themes together, each dovetailing from one to the other as our heroes have their moment. I pulled some inspiration from John Williams’ Harry Potter music, specifically the finale of The Sorcerer’s Stone. His music does a wonderful job of communicating a complex emotion with simple and clear music ideas. I felt there were a lot of parallels between the two scenes, so I aimed to capture a bit of his musical magic into our Percy music.

That being said, the music wouldn’t hit the same way without our live orchestra. We had the opportunity to record here in Los Angeles with some of the best players in the world, and their contribution can’t be understated. Live players add a humanity to music that’s hard to describe; you just feel it, and it absolutely elevates the music to the next level.

Alex – Working alongside Bear McCreary has also afforded each of you the opportunity to work on such titles as Paramount+ Halo Series and the iconic Call of Duty: Vanguard. Do you have any favorite memories or relationships that have stemmed from your work on any of these projects?

AC: There are so many great moments! It’s hard to choose. I’ll say that one of the best parts of working with Bear is that he always advocates for live players, and often some very out-of-the-box ones. Bear knows how to push every instrument to its limit and then some, and I’ve gotten to meet and learn from so many amazing musicians. Each time I come away with a new perspective on their instrument, and it changes how I approach writing for them in the future. It’s quite inspiring.

Our mixing team of Ben Sedano and Ryan Sanchez that we’ve been working on several of our projects are amazing as well. They were the team on Percy Jackson as well; Ben was our score editor, and Ryan the mixer. We’ve worked together now so many times that we’ve developed a shorthand, and they know what we’re looking for musically in our mixes and takes. Mixing is instrumental in tying together the sound of the show, even more so with multiple composers.

Jesse – How does your work on such high-profile projects differ from your experiences scoring independent film?

JH: I really enjoy getting to work in both of those worlds, because they provide different challenges. I’m very grateful that I get to work on high-profile projects, with larger budgets, and teams of uber-talented folks doing what they do best. Those projects often feel like a well-oiled machine with very high production quality, and that’s a special thing. Bouncing over to the indie side, each project is like a new puzzle to solve, because indies can be so unique and exploratory. Every time I work on an indie, I have to question not only the score direction, but my actual process of scoring, because sometimes there’s an opportunity to shake things up, and try something I’m not used to. For example, I have an indie feature coming up called “Coaled Blood” where I’m experimenting with a lot of unusual alternate tunings on guitar–something that’s forcing me to write and perform differently. It’s an exciting process. 

What can fans expect next from each of you, both on Percy Jackson and beyond?

BC: We’re all super excited to dive back into Percy Jackson. After spending so much time developing the sound of season one, we have a strong foundation to build on—at the same time, we’re also looking forward to expanding on the score and trying some new things. There are new characters and storylines in season 2, as well as some opportunities to build upon already existing themes. We’re all excited to see how the score grows with these characters as they change and mature.

Alex, Jesse, and I also had the chance to keep working with Bear recently, contributing additional music to a new show coming out in August. Can’t say much more just yet—but hopefully ye will ken soon

AC: Season 2 will be bigger and a touch more serious as the stakes go up. Our characters are growing up, and the music will do its best to mirror their new experiences. As Brian said, we’re excited to journey along with the characters, and infuse our emotional reactions to their story in our music.

Past Percy, I’ve wrapped up an original score to a dark comedy, and have a few other things coming along that I’ll be sharing when the time is right!
JH: Percy Season 2 is going to be awesome, and we’re excited to be a part of it. For the sci-fi fans out there, I’d recommend listening out for Bear and Sparks & Shadows on Foundation Season 3, dropping on Apple TV+ in July. In regard to solo projects, I’m working on Coaled Blood and have been busy in the lab doing custom sampling for that project. The film is by writer/director Sean Perry, who I had the pleasure of working with on DASH, available on Amazon Prime. If you like thrillers, I’d highly recommend checking it out.

The post Interview: Composers Behind Emmy-Winning ‘Percy Jackson and the Olympians’ Score on Collaborating with Bear McCreary appeared first on Awards Radar.

No wonder she is already attached to Soderbergh’s next project.

Of course, Abela’s work on Industry remains the most acclaimed of her career, even nabbing her a BAFTA Rising Star nomination earlier this year (the award eventually went to her Industry co-star David Jonsson for his role in Alien: Romulus.) As Abela continues to chip away at Yasmin’s ambitious and icy exterior, she also learns more and more about the young heiress and the cracks in her identity.

“The fun thing is when she falls into the slipstream of who she is supposed to be and what she is destined to say in certain moments,” says Abela.

Indeed, these questions of fate and destiny have become increasingly essential to Industry in its third season, which ups the stakes for its entire ensemble, but particularly for Yasmin, who faces unique pressures under the public eye. In a way, the character’s rise to infamy aligns with Abela’s own celebrity ascension, which is quite fortunately devoid of the controversy that mars her onscreen counterpart. But even as the young star recognizes those similarities between herself and Yasmin, she is committed to identifying other entry points into her performance.

“I think it’s always my job to find the points of difference first,” says Abela. “By the nature of the job, because I’m playing her, there will be points of similarity.”

Perhaps that philosophy explains the intriguing similarities between Yasmin and Clarissa, Abela’s character in Black Bag. Because both Industry and Black Bag concern themselves with sexuality and the ways in which it is weaponized both personally and professionally, it is only natural that Abela lends both characters a similar sense of confidence and seduction. Ultimately, she is drawn to the intelligence and emotional complexity of both women, and it certainly does not hurt to have such dense and articulate scripts at her disposal.

“You as an actor are deciding whether or not their verbosity is because they have a really good understanding of their emotions, or the complete opposite,” says Abela. “There is a lot of time and space to fill what you are saying with either the genuine intention of the sentence, or the subtext of what might be going on underneath it.”

Check out our full conversation with the talented Marisa Abela below!

Cory Stillman: Hi Marisa! The first thing i want to ask you about is actually not Industry, but rather Black Bag. I really mean it when I say you truly stole every scene in in that film, acting alongside some pretty major icons of the industry. What was it like for you to be a part of an ensemble with Michael Fassbender and Cate Blanchett and the like?

Marisa Abela: It was amazing! I guess when I first heard about the project and the possibility of doing it, I was just kind of overwhelmed for that exact reason, like everyone that was attached to it – from David Koepp to Steven Soderbergh to Cate and Michael and also Tom Burke – I was just so excited to work with everyone. I was definitely nervous to step on set on day one, and my first day was our big dinner table scene so I knew I kind of had to bring it from day one but for me personally that’s the best way to go.

I was having this conversation with Michael when we were doing press and he was saying that he prefers his day one to be a scene where he’s not saying anything or he has to come in and say one line just so he can sort of suss out the vibe and say hello to everyone, but for some reason I’m the opposite. I feel really weird if I start slow so it’s great to just jump right in.

CS: Industry and Black Bag both feature scripts that are fairly dense and even rely on certain jargon. Is that something you enjoy as an actress?

MA: Emotionally articulate people are very interesting to play because as an actor, you are deciding whether or not their verbosity is because they have a really good understanding of their emotions, or the complete opposite. There is a lot of time and space to fill what you’re saying with either the genuine intention of the sentence, or the subtext of what might be going on underneath it. But I find it’s just as intriguing and challenging and nuanced to experience everything your character would be experiencing if they either don’t have the language to express it, or they don’t need to express themselves. Those are sometimes my favorite scenes as well and I really love playing intelligent characters, but that can come in all different shapes and size. That can be an incredibly emotionally intelligent and articulate person that doesn’t necessarily know how to put that to words. It’s a great question and I think that there are massive pros and cons to to both and I think it’s good to practice both. As an actor, sometimes the real skill is saying to your director or your writer “I really think i can say that line with my eyes rather than just saying it out loud.”

CS: I actually spoke to both Sagar Radia and Ken Leung for the site as well and I asked them this same question because i do find this interesting…When you first join a show like Industry and especially as you now enter its fourth season, how has your understanding and relationship with the show’s financial jargon evolved over time?

MA: I guess you get more and more comfortable with it as you go along, whether or not that’s the actual language itself or the kind of sensory relationship to this world that you understand. At the very beginning in season one, I didn’t really understand what someone’s physical and emotional relationship to the world of finance would be, let alone understand all of the jargon. You know, it’s exclusive for a reason. It definitely takes a while to just be confident enough to say it at a lick, to just really come out with it. It’s like speaking a foreign language in a way…you can practice it over and over and over again, but if you’re not really confident with what the words mean and what you’re stressing, then it’s always going to sound slightly foreign in your mouth. You just have to be quite confident with it and the truth is that if you say something that’s maybe not what someone would say in the real situation, most of the audience are willing to forgive that. It’s mostly about the sentiment behind what you’re saying and the confidence with which you say it. I’ve definitely grown more and more comfortable with the world of finance as I’ve done this show for for such a long time now.

CS: I wanted to ask you about your relationship Marisa with Yasmin. This is a character whose celebrity and profile we have seen rise within the universe of Industry as the show has gone on, and I think it is safe to say that’s been true for you as well as the series has gone on. I’m curious how your relationship with the character has grown over the show’s first few seasons?

MA: I think it’s always my job to find the points of difference first. By the nature of the job, because I’m playing her, there will be points of similarity. I might say a line as Yasmin that I read as funny, whereas someone else might think of it as deadly serious, so just by the nature of playing her there will be moments where there are parts of Marisa that kind of seep out in her, but I think that that’s why when I’m doing the work I’m really striving to find the points of difference so that she really feels different to me. In season one, it was just so important that she felt authentic and she felt like a real person in this world. I was more concerned with her intentions at each point than I was with really wringing every drop of what this whole rounded human could be. At this point now in season four, I’m really making those choices every time because I’m hellbent on audiences not feeling like they know exactly who she is at each moment, and how she’s going to respond to things. As the seasons go on I would say Yasmin has become a bit more bold, which can sometimes slot you into a sort of arch character or an archetype of a person, and I think it’s my job to try and and fight away from that because humans don’t want to feel like an archetype. So i think that would be what Yasmin is doing, but the fun thing is when she just falls into the slipstream of who she is supposed to be and of what she is sort of destined to say in certain moments. I’m filming right now so there are moments in my head that are coming up where she is really fighting becoming this person that I think, if you watch season three, you sort of can see she’s going down the path on. It’s just as fun to watch her fight against that as it is to watch her really lean into it.

CS: I think it is fair to say that season three really pushed the creative envelope and broadened the show’s ambition and scope. Was that evident to all of you as you were making it? Is it something you are sensing on season four as well?

MA: Yeah definitely! I definitely felt the show expand and get bigger, not only in terms of story but also in terms of casting. More and more people were joining the show and the show felt bigger and bigger. It definitely felt epic. [Showrunners] Mickey [Down] and Konrad [Kay] have always been really ambitious, but it felt like they had the confidence not just in themselves, but the confidence of HBO maybe as well to really go for it in season three, so I could feel it. Also my storyline in particular felt so outside of the world of Pierpoint. As desperate as Yasmin was to keep her job and and stay afloat, the main bulk of what I was doing was this insane story in Mallorca.

Season four feels the same way. Season three ended in quite a big way and and this next season is jumping off from that point. Mickey and Konrad are directing episodes one and two and sometimes when we’re filming, I’ll look at them and be like “do you remember season one? Do you remember what that was compared to this?”

CS: Lastly, are you also a polyglot like Yasmin? Can you speak all those languages as well?

MA: I wish! I think I probably lied in my audition but I’m a hard worker so I tried to make it sound as fluent as possible.

The post Interview: Marisa Abela on the Parallels Between ‘Industry’ and ‘Black Bag’ appeared first on Awards Radar.

“We want that room to be warm, inviting, inclusive, and interactive,” says Kapoor. “Because then people watching at home will also be connected.”

The Oscars have experimented with several different creative visions over the years, operating without a host from 2019-2021, and welcoming a trio of hosts (Regina Hall, Wanda Sykes, and Amy Schumer) in 2022. Some shows have been rather understated, reflecting solemn moments in the entertainment industry and perhaps the culture at large, while others have been flashy and celebratory, capturing creative peaks for film as an artform. With COVID at the forefront of audiences’ minds, the 2021 Academy Awards were mellow and mature. With the industry still abuzz in the wake of Barbenheimer’s unprecedented success, the 2024 Oscars – the duo’s first as executive producers – were appropriately energetic and playful.

Of course, no matter the tenor of the year leading up to the telecast, nor the overall tone of the lineup of films nominated at a particular ceremony, Kapoor and Mullan remain responsible for producing an enjoyable and satisfying conclusion to the awards cycle, embracing cinephiles and casual viewers alike. In 2025, that charge led the producing duo to a late night legend whose return to television as host of the 97th Academy Awards was such a success, he has already been invited back for next year’s ceremony! Conan O’Brien’s comedic chops proved the perfect fit for The Oscars; the decision to bring him back in 2026 proved a no-brainer for Kapoor and Mullan.

“The joy that you saw emanating from Conan was all real, and he made us all feel that,” says Kapoor. “So for us, we also felt really happy and really joyful putting the show together with him, so we welcome the opportunity to do it bigger and better this coming year.”

As the entertainment industry endures new pressures from various angles, The Oscars sit at a fascinating crossroads as well. This latest iteration seemed to offer a particularly fresh perspective on celebrity and the role that Hollywood’s A-listers play (or don’t play) in the ceremony. Megastars like Meryl Streep and George Clooney were nowhere to be found, but the night felt like a proper anointment for younger stars like Timothée Chalamet and Mikey Madison, the new guard of Hollywood celebrities. For the pair of executive producers putting the show together, the evening conveyed a moving story of generational influence, wherein newcomers paid tribute to those who came before them.

“There is so much reverence for past movies and other people who have worked in the business,” says Kapoor. “Filmmaking is one of those things where you learn on the job, so you learn from all this vast material that is already out there, and then you can make your own creations that hopefully inspire another generation.”

As a piece of live television celebrating the best that cinema has to offer, The Oscars take on more and more significance each year. The care that Kapoor and Mullan put into the entire production therefore plays a pivotal role in shaping the future of both mediums. Listen to our full discussion with the duo below!

The post Interview: Executive Producers Raj Kapoor & Katy Mullan Are Oscar Nerds Just Like You appeared first on Awards Radar.

“Alaska is the heartbeat and protagonist of Life Below Zero,” says Litzinger. “The landscape is not just a setting – it’s a living, breathing force that shapes every story.”

Alongside his producing partner Ally Siegel, Litzinger has produced over 1000 hours of nonfiction television. Of course, the responsibilities of a showrunner on a series like Life Below Zero extend well beyond the careful and expressive storytelling. Filming in such dramatically cold climates alongside often dangerous forms of wildlife, safety often emerged as the series’ most immediate priority.

“Every creative decision had to honor the environment first,” says Litzinger. “It was never about conquering nature – it was about coexisting with it.”

The unbelievable nature of Life Below Zero is just one of the many reasons the series has endured for so long, winning several Emmys along the way. The show’s cinematography has become a particular awards draw, nabbing six Emmys for Outstanding Cinematography for a Reality Program over the last seven cycles.

“I have been lucky to work with an incredibly talented team of cinematographers who understood the assignment,” says Litzinger. “They treated this like a feature film, even when we were in minus-40-degree temperatures with frozen batteries and grizzly bears nearby and mostly had to carry minimum gear on their backs while not interfering with the cast day to day.”

Check out our full interview with Litzinger below, as he dives deeper into some of his favorite moments and characters from the series, while also reflecting on the show’s legacy as its 23 seasons come to a close.

After 23 historic seasons, National Geographic’s Life Below Zero is coming to an end. As showrunner, can you discuss the show’s legacy as a fan-favorite reality series?

After more than a decade on the air, what I hope Life Below Zero leaves behind is a legacy of authenticity. I believe the show redefined what a reality series could be and was deeply human, visually stunning, and focused on characters who chose a radically different way of life. The audiences didn’t just watch the show, they connected with it in a way that I think surprised a lot of people (including myself). The fact that it became the most-watched series on Nat Geo and has been nominated for 19 Emmys is something I will always be proud of. I hope it proved that real stories, told with care and respect, can resonate on a massive scale.

This show is unique in that you’re working with and around the wildlife who live in these areas. What role does the show’s landscape play in your creative process, and how does it differ from other programs in the subgenre?

Alaska is the heartbeat and protagonist of Life Below Zero. The landscape is not just a setting – it’s a living, breathing force that shapes every story. As a showrunner, I was constantly balancing the human arc with the uncontrollable elements of nature as well as keeping everyone safe. You cannot manufacture drama when the weather, the wildlife, and the isolation are all very real. It humbles you as a storyteller trying to plan. Every creative decision had to honor the environment first and it was never about conquering nature – it was about coexisting with it.

You have produced over 1,000 hours of nonfiction television. What continues to draw you to this space and set it apart creatively?

I love nonfiction because it reflects who we are and the human condition. It captures how we live, what we fear, and what we hope for. There is something powerful about real moments that can be more emotional or dramatic than anything you could script. Working in nonfiction forces you to think fast on your feet, adjust, and always be present to what’s happening – constantly adapting, shaping the story in real time. True stories, told in the moment is where I do my best work and where I feel most connected to storytelling as a craft.

You’ve also spent time mentoring young documentary filmmakers at SXSW. Why is mentoring rising talent important to you?

There is a quote I have hanging in my house: “Be who you needed when you were younger.” That really sums it up for me. Early in my career, I had mentors who believed in me, challenged me, and helped me find my voice. That kind of support can change everything. Mentoring at SXSW and through the Television Academy, where I currently serve as Co-Governor for the Reality TV Peer Group, has been one of the most meaningful parts of my career. These young filmmakers bring vision, energy, and originality and are not bound by old models. I learn from them as much as I hope they learn from me. It’s not just about giving back; it keeps me inspired and grounded in where the industry is going next so hopefully I don’t get left behind.

Do you have any personal favorite characters or moments across Life Below Zero’s 23 seasons?

There are so many unforgettable cast members. Sue Aikens has always been a standout of course – tough, funny, vulnerable, and incredibly sharp. Jessie Holmes brought relentless drive and persistence and even recently won the Iditarod after years and years of trying! The Hailstones shared their way of life with such generosity and grace, teaching us about tradition, survival, and family. But my favorite moments were always with the crew. The people behind the camera are some of the hardest-working, most dedicated professionals I have ever worked with. They were often in brutal conditions with subzero temperatures, remote terrain, and no second takes. They showed up every single day with heart, humor, and grit. Whether huddled in tents waiting out a storm or troubleshooting frozen equipment, those behind-the-scenes men and women who braved the elements and the cast, spent time away from their families and always got the shot, are the real heros of LBZ.

The show’s cinematography has been consistently recognized by the Television Academy. Can you talk about your collaborations with the team of cinematographers and how you arrived at the show’s striking visual palette?

The look of Life Below Zero was never an afterthought. It was part of our DNA. I have been lucky to work with an incredibly talented team of cinematographers who understood the assignment. They treated this like a feature film, even when we were in minus-40-degree temperatures with frozen batteries and grizzly bears nearby and mostly had to carry minimum gear on their backs while not interfering with the cast day to day. From long lens vérité to drone, observational and intentional framing, we built a visual language that matched the environment. We have been nominated for Best Cinematography at the Emmys ten years in a row – that is over a decade of recognition which is an incredible achievement and a testament to the artistry, consistency, and toughness of our crew.

With Life Below Zero’s award-winning run now coming to a close, what is next on the horizon for you?

It’s a tough time in the reality TV landscape (and the business as a whole) but I’m developing several new projects and staying busy. Some are rooted in survival and natural history and also explore identity, faith, and transformation. I’m also growing my company, Interesting.Media, which focuses on cinematic nonfiction storytelling that lives across platforms, from streamers and networks to YouTube and beyond. And recently I co founded the Ladyface Mountain Documentary Film Festival – a documentary film festival that takes place in Agoura Hills – in the heart of the Conejo Valley Year 1 was a passion project and my co founder Ally Siegel and I hope to grow it into something that can help champion the next generation of documentary storytellers. But after 12 years working, breathing, living Alaska – the spirit of Life Below Zero – the curiosity, the respect for nature, the deep love of story – will continue in everything I do next.

The post Interview: ‘Life Below Zero’ Executive Producer Joe Litzinger on the Legacy of the Nat Geo Series appeared first on Awards Radar.

“Editing a series shot in a city you have personal ties to adds an extra layer of connection,” says Litman. “You instinctively understand the rhythms, the character of the streets, and the nuances of its atmosphere.”

Litman’s intimate understanding of Philadelphia allowed him to pay particular attention to the setting throughout his work on the show. Indeed, Philly emerges as its own character in Dope Thief, which often mirrors the city’s raw blue-collar sensibility. That tone is established from the onset, with legendary director (and Dope Thief executive producer) Ridley Scott directing the first episode and even enlisting Oscar-winning cinematographer Erik Messerschmidt (interviewed here and here by Joey) to shoot it. Naturally, Scott and Messerschmidt’s gritty vision for Dope Thief endures throughout the series.

“My directors, Marcela Said and Jonathan van Tulleken, took the tone Ridley set and ran with it, pushing it even further,” says Litman. “They embraced the grit, the urgency, and the psychological depth, bringing their own unique sensibilities to the storytelling. In the edit, that meant staying true to the grounded realism Ridley infused into the pilot while also leaning into the heightened tension and emotional stakes that Marcela and Jonathan captured so well.”

Scott may be the flashiest name in the series’ opening credits, but Litman can attest to the excellence of the show’s entire creative team, including Oscar-nominated showrunner Peter Craig, whose script for the 2011 film The Town proved a vital source of inspiration for Litman on Dope Thief.

“The way that film builds tension with moments of silence, followed by sudden bursts of intensity, really resonated with me. I drew from that to craft a rhythm in my edits, making sure that we allowed the tension to simmer before it reached a boiling point, always keeping the audience on edge.”

With prior credits ranging from Netflix’s live-action One Piece to Marvel’s Agents of S.H.I.E.L.D., Litman has already established himself as a stalwart of sci-fi and genre storytelling, but his grounded return to his roots with Dope Thief just might signal an exciting new direction for the accomplished editor.

“While I’ll always have a love for sci-fi and high-concept storytelling, I’d love to explore more grounded dramas, thrillers, or even a Western,” says Litman. “But ultimately, what matters most is the team—the best projects are the ones where talented, passionate people push each other to create something meaningful, and that’s what I always look for in any new opportunity.”

Check out my full interview with Eric Litman below. We discuss his reaction to Brian Tyree Henry and Wagner Moura’s Philly accents, and dive even deeper into his many creative influences on Dope Thief.

New episodes of the series drop every Friday on Apple TV+.

Hey Eric! As a native of the Philadelphia area yourself, could you describe the experience of cutting together episodes of Dope Thief, which was shot on-location in Philly?

Eric Litman: Cutting Dope Thief was a unique and deeply rewarding experience, especially with its on-location shoot in Philadelphia. Editing a series shot in a city you have personal ties to adds an extra layer of connection—you instinctively understand the rhythms, the character of the streets, and the nuances of its atmosphere.

From an editorial standpoint, Philly itself became a key player in the storytelling. The cinematography leaned into naturalistic lighting and dynamic handheld camerawork, which gave the series an immediacy that I wanted to preserve in the cut. One of the biggest challenges—and joys—was shaping the pacing to reflect the energy of the city. Philly has this raw, kinetic feel, and the edit had to match that, especially in scenes where the characters are on the move through recognizable locations.

Since Dope Thief is a crime thriller that also thrives on its buddy-comedy dynamic and dark humor, balancing those tones in the edit was crucial. The chemistry between Brian Tyree Henry and Wagner Moura drives the show, so timing became everything—whether it was cutting a rapid-fire exchange to maximize a sharp, cynical joke or letting a beat linger just long enough to let the absurdity of a situation land. Some of the funniest moments come from the sheer chaos of their schemes going sideways, and making those comedic beats work while keeping the stakes high was a challenge I really enjoyed.

At the same time, the show has intense, emotionally charged sequences that required a different editorial approach—letting a scene breathe to fully capture the weight of a decision or the fallout of a job gone wrong. The contrast between these moments and the humor makes both aspects hit harder, keeping the audience engaged and off-balance in the best way possible.

One of the most rewarding aspects was crafting montages that seamlessly wove together different parts of the city. Philly has a distinct visual identity, and we wanted to ensure that each transition felt intentional and immersive. The interplay of tension, humor, and character-driven storytelling made this a particularly exciting project to cut, and it was a blast to help shape the show’s unique tone in post.

Actors Brian Tyree Henry and Wagner Moura have spoken about refining their Philadelphia accents for Dope Thief. How do you tend to evaluate performance in the editing room, and what was your reaction to their accent work, considering your own Philadelphia roots?

EL: Evaluating performance in the cutting room is always about serving the story first. A great performance isn’t just about an actor delivering a line well—it’s about whether that delivery enhances the emotional truth of the scene and fits within the overall tone of the show. With Dope Thief, Brian Tyree Henry and Wagner Moura brought a nuanced, layered chemistry to their roles, balancing the show’s tension, dark humor, and emotional depth. Their performances needed to feel authentic not just in action and reaction, but also in how they inhabited the world of Philadelphia.

When it comes to accent work, especially in a city as distinct as Philly, there’s always a fine line between authenticity and accessibility. Having roots in Philadelphia, I’m naturally attuned to the subtle cadences and unique inflections of the local dialect. In the cut, the question wasn’t just, “Does this sound like an exact replication of a Philly accent?” It was, “Does this feel natural for this character in this moment?” What mattered most was whether their speech patterns felt lived-in rather than performed.

Both Henry and Moura put clear effort into capturing the Philly sound, and I appreciated how they avoided exaggeration—accents can easily become distractions if they’re overworked. Their choices felt grounded, particularly in how they modulated their speech depending on the intensity of a scene. In moments of high tension, their delivery naturally sharpened, while in quieter, more introspective beats, there was a softness that felt earned.

Marin Ireland had to play Mina without a voice for most of the series, which meant we had to find creative ways to express her despair and frustration in an increasingly hopeless situation. Sometimes, we leaned into technology—putting text messages on screen or using her iPad to speak for her. The iPad, in particular, became an unexpected storytelling tool; depending on what Mina “said,” it could add moments of comedic relief to otherwise tense scenes. Other times, silence was our most powerful device—we’d hold on her longer than usual, letting her eyes do the talking. Every choice was about preserving her strength and intelligence, ensuring that even without words, her presence remained commanding.

In post, we’re constantly shaping performance—moving lines around can make a line land more naturally, or a reaction shot can add authenticity to a conversational rhythm. The key was always ensuring that nothing pulled the audience out of the moment.

Ultimately, their performances transcended the technical aspects of accent work. Brian Tyree Henry’s charismatic presence was magnetic—you couldn’t help but be drawn into his emotional arc—while Wagner Moura delivered a performance imbued with deep remorse and fear that resonated throughout every scene. Both actors built characters who felt real—flawed, compelling, and deeply entrenched in their environment. That’s what made their work resonate, and why every choice in the cutting room was made to ensure that performance always served the story.

I also appreciated Peter Craig’s attention to detail in ensuring that the word “jawn” was used properly as a noun, a verb, and an adjective—a clever nod to Philly’s linguistic flair that underscores the authenticity of the storytelling.

Dope Thief is most notably executive produced by legendary filmmaker Ridley Scott. How was Scott’s influence felt throughout the post-production process?

EL: Ridley Scott directing the pilot set the tone for Dope Thief in a way that was both bold and precise. His signature style—grounded yet visceral storytelling, dynamic compositions, and attention to detail—established the show’s visual and narrative language right from the start. That foundation carried through every aspect of post-production. His influence wasn’t just in the way the show looked but also in how it felt—the pacing, the tension, the raw intensity of the characters’ journeys.

My directors, Marcela Said and Jonathan van Tulleken, took the tone Ridley set and ran with it, pushing it even further. They embraced the grit, the urgency, and the psychological depth, bringing their own unique sensibilities to the storytelling. In the edit, that meant staying true to the grounded realism Ridley infused into the pilot while also leaning into the heightened tension and emotional stakes that Marcela and Jonathan captured so well.

From a post-production perspective, we worked hard to maintain the sense of immersion Ridley created. That meant keeping the pacing tight but intentional—letting moments breathe when needed and ramping up the energy when the story demanded it. It also extended to sound design, where we used naturalistic yet heightened audio to draw the audience deeper into the world. His influence was always present, not just in specific stylistic choices but in the overall approach to crafting a cinematic, character-driven crime story.

Having someone like Ridley Scott attached to the project set a high bar, and everyone in post was motivated to meet that standard. His legacy is built on meticulous craftsmanship and storytelling that grips you from start to finish, and Dope Thief was no exception.

Dope Thief features an even further array of talent off-camera, including Academy Award-winning cinematographer Erik Messerschmidt and Academy Award-nominated screenwriter Peter Craig. How did the award-winning pedigree of the show’s crew shape the overall vision and tone for the series?

EL: Having talent like Erik Messerschmidt shoot the pilot with Ridley Scott set a visual standard that carried through the entire series. Erik’s cinematography established a grounded yet striking aesthetic—gritty, textured, and immersive. His work with Ridley laid the foundation for how Dope Thief should feel: raw, intense, and cinematic.

After the pilot, my episodes were shot by Yaron Orbach and Eduardo Mayén, who both embraced and expanded on the visual language Erik established. They maintained that same level of precision while bringing their own unique perspectives, finding ways to deepen the show’s atmosphere and tension. Whether it was framing characters in isolation to highlight their paranoia or using handheld energy to amplify the chaos, their work gave me incredible material to shape in the edit.

And, of course, Peter Craig’s writing was the backbone of it all. His ability to craft layered, morally complex characters made my job both challenging and rewarding. Every scene was loaded with subtext, and his pacing on the page naturally informed the rhythm of the edit. The show had to feel propulsive but still give weight to the emotional moments, which meant finding the right balance between action and reflection.

With a team operating at such a high level, the expectations were huge. But that level of talent also meant that everyone—directors, cinematographers, editors, sound designers—was working toward the same goal: making Dope Thief as cinematic and gripping as possible. The collaboration and trust across the board allowed us to push the storytelling in ways that felt bold and authentic, making for a show that I’m really proud to have been a part of.

You received acclaim for your work on Netflix’s One Piece adaptation in 2023. How did that experience differ from your work on Dope Thief for Apple TV+?

EL: While One Piece and Dope Thief exist in very different genres—one a big-budget, VFX-heavy adventure and the other a grounded, character-driven crime drama—there are actually a lot of similarities when it comes to editing. At the core of both, my job is to make sure the story tracks, no matter how ambitious the scope or how many moving pieces there are.

With One Piece, the challenge was balancing a sprawling ensemble, intricate action sequences, and extensive visual effects while maintaining emotional clarity. Every scene had to stay rooted in character, ensuring that amid all the spectacle, the audience remained invested in Luffy and his crew. Action editing in a VFX-heavy show also required a lot of precision—often cutting based on previsualization or placeholder effects and anticipating how the final shots would play.

On Dope Thief, the complexity came from weaving multiple crime storylines, balancing dark humor with tension, and shaping the dynamic between Brian Tyree Henry and Wagner Moura. In some ways, tracking interwoven narratives in a crime drama isn’t so different from managing multiple character arcs in a high-concept fantasy world. In both cases, pacing is crucial—whether it’s knowing when to let a dramatic moment breathe or when to tighten the rhythm to keep the energy up.

Another key similarity was ensuring geography and continuity were clear. In One Piece, that meant keeping action spatially coherent within elaborate fight sequences and ship-based set pieces. In Dope Thief, it was about maintaining a sense of place across Philadelphia’s distinct locations—ensuring the movement between neighborhoods and key events felt seamless.

Ultimately, whether it’s a swashbuckling adventure or a gritty crime thriller, the goal is the same: keep the audience emotionally engaged and the storytelling sharp. The tools and techniques may differ, but making sure every cut supports character, tension, and momentum is what ties both experiences together.

What was your biggest creative challenge cutting together your episodes of Dope Thief?

EL: One of the biggest creative challenges in cutting Dope Thief was balancing the incredible footage directed by Marcela Said with the tight, propulsive storytelling laid out by Peter Craig. Marcela captured some truly stunning and emotionally rich material, and the performances were fantastic across the board. The first cuts were coming in between 70 to 90 minutes, packed with great moments, but our job was to shape those into episodes that felt both gripping and accessible for the audience.

Marcela gave me such incredible, dynamic footage that was very unconventional at times. Finding ways to use that footage so that it served the story rather than stand out was key in making the episode shine. She also had a great eye and would instinctively grab shots in the moment that she felt could be used for dramatic effect. One example was before a big shootout where Ray looks up and sees a flock of vultures. Marcela run-and-gunned like an indie filmmaker, getting me 20 takes of vultures flying. Later that day, she called me and said, “Make sure to use the vultures.” And she was absolutely right—it really helped put us into Ray’s headspace, making the moment feel even more visceral and foreboding.

We also had a number of montages to show many different character arcs and the passage of time, all interwoven to reflect how our main characters have grown. These were tricky to shape, as they had to blend seamlessly with the narrative while still highlighting the emotional evolution of the characters. Some scenes were absolute gems—very poetic in their own right—but they had to be worked so that they made cohesive sense for the overall story.

My episodes were also very Mina-heavy, showing that she was really a strong-minded agent who got mixed up in a bad situation. We needed to make sure to show her trajectory while keeping her strong. We would linger on her for a bit longer than usual to show that she was thinking about all the angles, not trusting anyone, and was on a mission to solve the mystery.

It was a challenge to preserve all the nuanced character work while maintaining the urgency and tension that Peter’s script demanded. Every cut had to serve the pacing, making sure that we hit all the story beats without losing the depth of the performances. It was about finding that perfect balance—letting the best moments breathe while keeping the energy tight and immersive.

Did you take inspiration from any particular crime series or films as you established the pacing and tone for your three episodes of Dope Thief?

EL: Absolutely, the pacing and tone for my episodes of Dope Thief were very much influenced by the rhythm and structure of crime films that I hold in high regard—one key reference was The Town, which just happened to be written by Peter Craig. The way that film builds tension with moments of silence, followed by sudden bursts of intensity, really resonated with me. I drew from that to craft a rhythm in my edits, making sure that we allowed the tension to simmer before it reached a boiling point, always keeping the audience on edge.

Another massive influence was The Godfather. I’ve always been captivated by the use of sound design in that film, particularly the moment when Michael Corleone shoots Sollozzo and Captain McCluskey. The rising sound of the subway crescendoing into the gunfire is such a powerful moment. It heightens the tension, almost making you feel the impending violence before it happens. I try to replicate this feeling in my work, focusing on sound design as much as the visuals. The smallest sounds—footsteps, a distant siren, the creak of a door—can add layers of tension and make a scene feel even more immersive.

I also drew from Michael Mann’s Heat, specifically the big shootout in downtown LA. The way they used naturalistic sound design to make the gunfire feel visceral and immediate was something I wanted to bring into Dope Thief. For a massive shootout in a quarry in one of my episodes, I leaned into that same approach, letting the raw, echoing gunfire create a sense of chaos and realism. I also made a conscious choice to keep the point of view locked to Ray and Manny, emphasizing the horror of the situation rather than placing them directly in the action. Instead of making them active participants, I framed them as unwilling spectators, which really heightened the intensity and made the scene feel even more unsettling.

As I worked through Dope Thief, I found that after cutting a number of montages, using a temp score by Trent Reznor was incredibly helpful. The way his music builds tension and complements the visual rhythm was a great guide for me. When I was editing, it became a kind of litmus test for pacing—if the temp score hit the right emotional notes and rhythm, I knew I was on track. It helped reinforce that my pacing and rhythm were in sync with the emotional beats of the story, ensuring that everything from the quieter, introspective moments to the intense action sequences flowed smoothly.

How did your strong background in sci-fi and genre storytelling prepare you for your work on Dope Thief? Do you have any other genres in which you would like to work moving forward?

EL: Peter Craig’s collaborative approach was infectious, and the support from the team at Scott Free and Apple was invaluable. They trusted us to take creative risks while always keeping the heart of the story in focus. That trust made the entire process feel incredibly rewarding, creating an environment where we could refine every detail—whether it was shaping the tension in a key sequence or finding the perfect rhythm for a montage. Peter understands how to build complex, layered characters, and his openness to ideas in post made the edit feel like a true creative partnership.

Technology has made collaboration easier than ever, no matter where you are in the world. Marcela Said would FaceTime me from set in Philadelphia while I was cutting in Los Angeles to discuss what she shot that day, and later, we cut together using Evercast while she was in Paris. Being able to get immediate feedback in real time ensured we were always aligned creatively. That instant connection made the entire process feel seamless, even across different time zones. It’s amazing how technology has removed so many barriers, allowing directors, editors, and producers to stay engaged and shape a project together, no matter where they are.

Dope Thief was an incredible experience because of the people involved—everyone was invested in telling a gripping, character-driven story. That energy made the process exciting, and it reinforced why I love what I do. There’s something truly special about working with a team that is just as passionate about the craft. When every department is pushing to elevate the project, that dedication translates to the screen.

My background in sci-fi and genre storytelling has always been about world-building, pacing, and crafting tension—all of which were crucial in editing Dope Thief. Regardless of genre, the goal is the same: to immerse the audience in a compelling story with dynamic characters. Genre storytelling has taught me how to balance exposition with action, when to let a moment breathe, and how to shape tension so that each beat lands with maximum impact.

At the heart of it all, the best experiences come from working with great people who love collaboration. Dope Thief was an incredible experience because of the team, and that energy made every step of the process exciting. I’ve learned that it’s less about the project itself and more about the people you collaborate with. That advice came from a great editor I worked with early in my career, and it has stuck with me ever since.

As for what’s next, I’m currently working on One Piece season two. All I can say is, it won’t disappoint! However, I’m always open to new challenges. While I’ll always have a love for sci-fi and high-concept storytelling, I’d love to explore more grounded dramas, thrillers, or even a Western. But ultimately, what matters most is the team—the best projects are the ones where talented, passionate people push each other to create something meaningful, and that’s what I always look for in any new opportunity.

The post Interview: ‘Dope Thief’ Editor (and Philly Native) Eric Litman, ACE Can Attest to the New Series’ Authenticity appeared first on Awards Radar.

“We always thought of Iris as a three-dimensional character and treated her as human, even though she wasn’t,” says Bachman. “The character has desires that are gradually overcome by a deeper, inner need. It’s a traditional character arc. The robotic components are merely external elements.”

Indeed, Companion effectively resonates with our AI-embattled era, but its true success lies in its careful treatment of its characters, not to mention its playful sense of misdirection. Hancock’s script is full of surprises, and early test screenings of the film proved crucial in ensuring these surprises landed for audiences.

“The most important part of this for me is always being in the room with a stranger when it plays,” says Ethier. “It really puts you on high alert and instead of watching the film, you’re cataloguing the energy of the audience. Making sure no one gets too far ahead of (or behind) the film is so important for a movie like Companion that relies on an engaging mystery but also on big laughs and genre moments.”

Those genre moments prove similarly invaluable to Companion‘s final cut, which flirts with elements of rom-com and heist films but also doubles down on a grisly degree of gore. Of course, Bachman and Ethier were uniquely suited for such tonal shifts. The former even cut Josh Ruben’s Heart Eyes, which also released to much fanfare earlier this year and similarly fuses the horror and rom-com genres into one. Across both films, Bachman kept returning to that aforementioned cornerstone of storytelling: character.

“If the audience is connecting with your characters, the tonal pivots are easier to pull off because the actors are leading the charge — they are the main emotional conduit for the audience,” Bachman says.

Fortunately, Companion features a stellar cast of rising young stars, including Sophie Thatcher as Iris, and Jack Quaid as her not-so-nice boyfriend Josh. As far as emotional conduits go, both Thatcher and Quaid ensure that the film remains emotionally grounded and immersive.

“For a cast as young as they were, they all gave us so many great options in the edit,” says Ethier.

Check out my full conversation with Brett and Josh below. We discuss what it was like to collaborate with Drew Hancock on his directorial debut, how they managed to maintain the film’s element of surprise, and which scenes continue to stand out to them both today. Brett even dives deeper into the similarities and differences between Companion and Heart Eyes!

Hey Brett and Josh! Companion marks Drew Hancock’s directorial debut. What was it like collaborating with him as a first-time director?

Brett W. Bachman, ACE: Although it’s his first feature, Drew comes from a long history of screenwriting. He wrote a wonderful script with layered and complex characters, and he was passionate about exploring their nuances in the edit to bring them extra emotional depth. 

He possessed an ideal work ethic, in that he had a strong vision that inspired the cast and crew, but he is also extremely open to collaborating and seeing new possibilities if they add something complimentary. Sometimes you get new directors who exist outside that spectrum – either they don’t really know what they want, or they have a locked-in perspective and can’t be open to new ideas. This wasn’t the case with Drew at all. There was a very healthy sense of trial and error in the editing room, we were allowed to experiment and take risks–to present bold ideas. 

Josh Ethier, ACE: Like Brett said, because of his writing background, Drew wasn’t entirely new to the process. By the time I joined Drew in the editing room, it never even occurred to me that he was a first-time director. He was incredibly prepared and fluent in editorial language. He knows when to step away and let the editor work through some footage by themselves but he also knows when to sit down and dig in with you. Even on late nights and weekends, he was a joy to work with and a perfect match for my own sensibilities in the cutting room. It was always light, creative, and fun. We all looked forward to sitting down together in the morning and cracking open a scene over a cup of coffee. It was an ideal atmosphere for an edit and a lot of that is thanks to Drew’s confidence in his writing and direction, and also his receptiveness to the process.

Josh – I understand you came to the project partway through the editing process, with Brett taking a brief paternal leave. How did you balance your own editorial instincts with the established tone of the film?

JE: When I came onto the project Brett was about five weeks into the director’s cut with Drew, so they’d already made some incredible strides in discovering the voice of the film. Even the cut I watched about two weeks before starting was very different from the cut I eventually took over. The edit was entering that discovery phase between “This is the script” and “This is the film”. It was actually a perfect time to bring a new editor into the fold because this is exactly the point in the process you want to start stress testing things that are working, but also try approaching some sequences in a totally different way. We marked a number of sequences with post-its on the wall, “This is working but it could use a fresh set of eyes.” As we came to them, I’d try something different with the footage. Sometimes that meant bringing lines back, other times it meant trimming lines. More often than not it also included a fresh take on temp score. Everything was open to interpretation.

Although Brett and I were never cutting concurrently, I feel like the finished film is almost a conversation between the two of us. Whenever I thought to myself, “This shot could stand to hold a little bit longer”, I’d drag it out to find out exactly why Brett cut where he did. At totally different parts of the process we’d both come to the same conclusion about the footage. It was our long distance version of Walter Murch’s, “Try and land the moviola on the same frame twice in row.” I think the best compliment we’ve received on the film is that no one can tell which cuts are Brett’s and which cuts are mine. I think that’s because we both went to great lengths to always let the film speak for itself through us.

Brett – you also edited another popular horror release this year in Josh Ruben’s Heart Eyes. With both films fusing elements of rom-com and horror, did you find yourself relying on any particular strategies or skills across both projects?

BWB: Drew and Josh Ruben shared one big factor in their approaches to each of Companion and Heart Eyes: the characters needed to be grounded and their plights played for real. We didn’t want the films to feel too self-aware. The dramatic component of these films had to work before anything else, and that meant dialing in these couples stories and interactions; making sure that we mined the material for the best possible performances, the most natural chemistry – basically making sure our audience members were sincerely connecting with them. In Companion, our entire foundation is Iris and Josh, and in Heart Eyes, it’s the budding courtship between Ally and Jay. 

If the audience is connecting with your characters, the tonal pivots are easier to pull off because the actors are leading the charge — they are the main emotional conduit for the audience.

Once we have that foundation, we have the power to nudge the direction of the tone. We do this primarily through sound and music. The score and needle drops can follow the emotion of the scene with a complimentary tone, or vice versa, you can counter it with an opposing tone. In Companion, we’d often utilize needle drops to counter a scene that has darker, most sinister components with a piece of music that’s sweet or gentle. There’s a point towards the end of the second act where a major character gets abruptly killed, and instead of utilizing sinister or dark music to accompany the beat, we drop in “This Guy’s In Love With You” by Herb Alpert, a gentle love song. We felt that it offset the darkness, and kept the tone of the film more buoyant, more fun. We do it again by reprising an Iris love theme from the score in the tense third act finale. 

In Heart Eyes, the tonal pivots occur more frequently, and they’re often really funny. We had to be really careful not to force them too hard, or else we break the verisimilitude and venture into parody, which is something we didn’t want to do. Like I said earlier, we don’t want it to be too self-aware. The film is very playful and embraces common tropes in rom-com and slasher genres. Much of the charm of the movie is derived from that juxtaposition, like going from a really tender conversation on Ally’s bed, to discovering the Heart Eyes Killer in her closet 10 seconds later, and we’re in a brutal life-or-death fight scene. 

There’s a lot of trial and error to get it right. Sometimes a few decibels in a piece of music or sound effect is all that stands between a moment feeling contrived or too winking, versus it feeling complementary and effective. Horror and comedy both exist on that razor’s edge, and it’s tough to really find that very specific rhythm and tone. Josh and Drew both come from comic backgrounds, and they have terrific instincts of when to push, versus when to pull back.

The important thing about these tonal switches is that you cannot force them. They have to be a natural extension and interplay with all of the other factors in the movie; the color palette, the photography, the dialogue, and the rhythm of a scene. That means you really have to calibrate what feels right in the edit—the right read from an actor, the right pace, the right piece of music (or lack thereof). In summary, it’s all about crafting something you can emotionally respond to, and that largely boils down to “do I believe this? Does it draw me in?”

Companion offers several shocking twists throughout its runtime. How did you work to maintain the element of surprise with each twist and turn?

BWB: The challenge is to stay just a little bit ahead of the audience, which can be difficult! Audiences are never passive, they’re constantly doing arithmetic while watching and guessing what is going to happen next. It helps to keep the film moving at a brisk pace so you’re constantly developing the plot and characters. In Companion, we used to have several more clues to Iris’ true identity in the first act, and we ended up losing them as we thought they were too leading, like having her body twitch on a walk outside when Josh activates a setting from an app on his phone from within the house.

JE: Several weeks after I’d started on the film, we entered the testing phase. First, with a recruited screening on the Warner Brothers lot, and then finally at a 300-person theater at the AMC Burbank 16. The most important part of this for me is always being in the room with a stranger when it plays. It really puts you on high alert and instead of watching the film, you’re cataloguing the energy of the audience. Making sure no one gets too far ahead of (or behind) the film is so important for a movie like Companion that relies on an engaging mystery but also on big laughs and genre moments. Sometimes we can let them step on each other a bit as we do in Companion a couple of times. A funny line can be punctuated by a quick flash of violence to great effect. Other times you’re building a feeling of dread and you want to make sure it’s right at the perfect point of anticipation before it tips over into boredom. With the amount of work that Brett and I have in the genre space, we’re thankfully perfectly suited to this kind of fine tuning.

BWB: There’s a big twist later on in the second act that I think is really effective because of the scene’s rhythm. We give the audience a little clue to a pretty big secret, and then we rapidly fly through fifteen seconds of dialogue–we don’t give the audience a chance to really ponder the implications of the clue, and then after a flurry of quick cuts, we drop a pretty big twist that floors most of the audience. These fast cuts, this little editorial chaos, adds to this momentary confusion before we drop the big reveal, and I think it’s pretty instrumental to making the twist work as well as it does.

The film also features an exciting young cast of stars, including Jack Quaid, Sophie Thatcher, and Lukas Gage. How do you evaluate talent in the editing booth, and did a specific performance or scene in Companion stand out to you?

BWB: The film really rests on the shoulders of Sophie and Jack. There is nothing objective in the way we evaluate performances. Editors are actors’ secret partners. They never really meet us, besides at ADR or a fleeting moment at the premiere, but our primary job is to curate days, weeks, or months of their work. We learn their tics, their tactics, and if they’re delivering on take one or take five. I think if you talked to a group of editors, 95% of them would say they obsess over actors’ performances more than any other criteria in the film – and it’s entirely subjective. What works for Editor A may not work very well for Editor B. Evaluating performances is entirely personal, and largely instinctive.

While watching dailies from set, I try to be very aware of my initial gut reactions and trust those emotional impulses. I don’t necessarily try to articulate why take two might be better for me than take three, but I take notes and prepare a selects reel of my favorite bits. I’ll prepare a first edit and see if these moments result in a moving, compelling scene. If it doesn’t, I often go back to my dailies and try again. Once the director gets into the room, we’ll often do another round of swaps to make sure that the performances are working for them too. It’s a melding of what both editor and director respond to. 

JE: For a cast as young as they were, they all gave us so many great options in the edit. There’s lots of standout moments that still get me, even having worked on the film. Sophie’s earnest, “I’m not real, but I’m still yours.” The vulnerable way that Harvey [Guillén] drops to his knees and says to Lukas, “You know I would never treat you like that.” Every character has a perfect moment to shine in the script and the cast really seized upon them as performers. Megan Suri may have had the most difficult scene in the movie, sharing a glass of wine with Sophie right before the big reveal. I love the way she handled it, deftly dancing around the elephant in the room. Jack Quaid’s Josh getting dumped is one of my favorite moments in the film. I love to watch that scene with an audience, he really ate it up.

BWB: The entire cast really brought their A-game. Harvey was a constant sense of buoyancy and just lifted the comedic tone of every scene he was in. Lukas brought this quiet tenderness and his arc sneaks up on so many people. It was wonderful to watch Megan bring Kat to life as a natural foil to Josh’s fragile ego; she wonderfully undercuts him and calls out his BS. However, Jack and Sophie – I mean, they’re the beating heart of the movie. As an editor, there are few things better than working with leads that are technically precise, AND gifted. They both possess something special that transcends training. I love the breakup scene between the two of them that occurs around 30 minutes into the film. Sophie’s character undergoes a startling revelation, and it’s wonderful to watch her attempt to understand it – for me, it’s where I fully begin to empathize with Iris. Meanwhile, I love that I get to see how this interaction frustrates but also saddens Josh. I wanted the audience to pity him just a little bit before he becomes even more villainous.

AI is such a hot-button issue, but Companion manages to broach the topic with levity and nuance. How would you describe the role that AI and robotics play in the film?

BWB: Honestly, we barely discussed it. We always thought of Iris as a three-dimensional character and treated her as human, even though she wasn’t. The character has desires that are gradually overcome by a deeper, inner need. It’s a traditional character arc. The robotic components are merely external elements. It’s an emancipation story of one character discovering their inner worth and extraditing themselves out of a toxic relationship. 

JE: Exactly. Iris was always Iris, she was never just an object. The script does a great job of showing characters that live in a world that’s more reliant on artificial intelligence and robotics without expressly saying whether it’s all good or bad, which leaves room for the audience to fill in the blanks with their own lived experience. Ultimately that’s why I think the film struck a chord with viewers. After screenings you’d hear folks asking their friends, “So what if YOU had a Companion?” The best films always seek to ask questions, not necessarily to answer them.

Companion regularly alternates between humor and horror. How would you define the film’s genre trappings, and how did you balance those different elements in the edit?

BWB: It’s odd, but in most genre pictures I work on, it’s rare for someone in the editing room to ask, “is it scary enough?” Or vice versa, “is it funny enough?” We focus on the core components; are you connecting with the characters? How is the pace? What is boring, what is confusing? A film will be much scarier if you have empathy for the characters in their plight, as a film will be funnier if you are rooting for the characters to hit their objective. 

Comedy and horror are very closely tied. It’s tension and relief. Pacing, rhythm. Tone dictates whether it’s scary or funny. Like I said before, you can’t force it. 

JE: It can be limiting to say, “Here’s a horror skill set that I can deploy when need be”, or vice-versa with comedy. The important thing is to learn the language of the film you’re editing and speak it accordingly. It’s not about balancing between two things, it’s about understanding one thing. The sequence with Iris and Sergei on the beach is tonally different from a large part of the rest of the film up until that point, but that’s because there were different goals in mind for the story and different stakes at hand for the characters. This doesn’t mean it doesn’t exist in the language of Companion, because it very closely mirrors where Iris and Josh wind up at the end of the film. You focus on the scene in front of you and its needs, and then you work outward towards the bigger picture.

BWB: There is a saying all editors have heard, “the film will tell you what it wants to be.” I think it’s important for editors to listen to the material, and instead of trying to force it into a specific container, allow the film to find its true voice, its own unique tone and rhythm. Finding that balance is different for every single film, but it all goes back to empathy and building a film through well-written, well-performed characters. I’ve seen horror films that weren’t really scary, but I still love them because of their dramatic chops. I think it’s a little bit of self-sabotage if you are only setting out to make a funny or scary movie, and not be more concerned about what kind of story you are trying to tell.

JE: Brett and I have been lucky to work on some very unique projects in our time in the business. We’ve worked on films that are heavy on scares, laughs, action, character, you name it. Honing your chops allows you to be more confident when you take bigger swings at a piece of material. Companion was a perfect opportunity for the two of us to combine our editorial experience and deliver something memorable for an audience.

You have each established yourselves as stalwarts of the horror genre. Are there any other genres in which you would like to work, or filmmakers with whom you would like to collaborate?

BWB: I’ve been really fortunate to work in a lot of different genres. I’ve done comedy, action, dramas, documentaries, and tons of horror and its subgenres (haunted house, slasher, cosmic, whatever Mandy is, plus many more.) I’d love to keep trying new things and not get too comfortable in one place. I’d love to try my hand at a bigger budget action film one day—that could be really fun. I love mystery movies.

Yet, it’s really all about working with great people on a great script. I had a wonderful time doing Pig, and would be eager to do another drama outside of the genre space. I’ve been really fortunate to have worked with some incredible directors and producers, and I hope to reteam with those folks in the years to come.

JE: On one hand, I’m looking forward to continuing to work with directors like my friend and producing partner Joe Begos who make loud, bombastic, unapologetically genre films. I’d also love to work with more directors like Henry Dunham (for whom I edited The Standoff at Sparrow Creek) who want to make quieter, heavier, more atmospheric films. More important than genre is the script and the director. I think either of us would be happy to cut a big studio romantic comedy as long as we connected with the script and the director. I wake up every day excited that I get to make films for a living, and I’m happy to continue down that path for as long as I can.

The post Interview: ‘Companion’ Editors Brett W. Bachman & Josh Ethier on Maintaining the Element of Surprise appeared first on Awards Radar.

” I think my strength in orchestral scoring lends itself well to the sort of heightened reality that you often get with this sort of project, be it live action or animation,” says Hancock.

The gorgeously animated adaptation of Michael Morpurgo’s classic children’s book features an impressive voice cast, including Ken Watanabe, Sally Hawkins, and Cillian Murphy. Watanabe even contributes vocals to Hancock’s score, voicing the titular Kensuke, whose tragic backstory gives way to one of Hancock’s greatest musical accomplishments.

“It’s an arrangement of a Japanese folksong where the power of the human voice delivers devastating and raw emotion, capped with the use of an 8-year-old Japanese girl soloist,” the composer explains.

Hancock’s score reached a new level of success when it was nominated for an Annie Award late last month. It was an emotional achievement for Hancock, who was nearly starstruck by the company in his category of Best Music – Feature. In addition to Oscar nominee Kris Bowers (The Wild Robot), the category includes such heavy-hitters as Pharrell Williams (Piece by Piece), Lorne Balfe (Wallace & Gromit: Vengeance Most Fowl), and Wicked composer John Powell, who is nominated not for his Oscar-nominated score on the hit musical but rather for the music he crafted alongside Ed Sheeran for Netflix’s That Christmas.

“My first reaction, when seeing the other nominees, was a bit of imposter syndrome– it’s a very starry list of composers that I’m thrilled to be recognized with and whom I’m looking forward to meeting at the ceremony!”

Indeed, Hancock’s inclusion in the category is a genuine testament to the quality of his work and the respect he has commanded amongst his peers. Check out our full conversation with this rising star of the composing world below!

Hey Stuart! Congratulations on your Annie Award nomination for Best Music – Feature! What was your initial reaction when you found out?

Thanks Cory! I was absolutely delighted to get the nomination, along with Kensuke’s Kingdom’s two other nominations (for Best Writing and Best Independent Film.) My first reaction, when seeing the other nominees, was a bit of imposter syndrome – it’s a very starry list of composers (e.g. Pharrell Williams, John Powell, Ed Sheeran, Lorne Balfe) that I’m thrilled to be recognized with and whom I’m looking forward to meeting at the ceremony!

As an independent animated film, Kensuke’s Kingdom’s success at the Annie Awards is especially noteworthy. What does it mean to you to see this film recognized alongside some of the year’s biggest animated films?

The gratifying thing is that it was a juried process, so my score was considered for the Annie nomination on a level playing field with the others and judged on merit alone, so I have every reason to be very proud of it. Similarly, Kensuke’s Kingdom‘s nomination for Best Children’s and Family Film at the upcoming BAFTAs has come through a jury vote, rather than a vote by the wider membership. Many of the other awards and categories require campaigning and promotion, and the films that are able to shout the loudest get watched the most – and therefore considered the most. This advantage is something that an indie like Kensuke’s Kingdom can’t compete with, so it’s absolutely brilliant for it to be getting this recognition.

Can you tell us about the creative process behind composing the score for Kensuke’s Kingdom? What was your primary inspiration?

Kensuke’s Kingdom is an adaptation of a very popular children’s book by War Horse author Michael Morpurgo. It’s a very gentle 2-D hand-drawn style of animation, and, in essence, an old-fashioned adventure story. The directors, Neil Boyle and Kirk Hendry, and screenwriter Frank Cottrell-Boyce kept dialogue to a minimum and they knew from the start that the music would play a big part in the story-telling. Their temp score was filled with tracks from fabulous old-school adventure scores (like those of Williams, Horner, Silvestri), so the brief was very clear! It was a very creative, collaborative process, where the use of themes and motifs for characters and scenes was crucial – and what I was able to create was richly symphonic!

Main theme – ‘The Peggy Sue’

The music in Kensuke’s Kingdom is deeply emotional. How did you approach balancing the story’s themes of adventure, survival, and friendship through your music?

I worked on and off on the music very closely with Neil and Kirk over the course of about two years, from the animatic stage to completion, so we had the luxury of a good long working period to really get things right. There was a lot of trial and error with the thematic material, but when I landed on the right notes, we all knew it! The first theme I wrote for the film actually happened years before, back in 2016 when they made a two-minute teaser animation to help raise the finance. They asked me to score it, and one of the motifs from this music became the ‘island’ theme and served as Kensuke’s chant that recurs through the film:

Kensuke’s Chant – ‘New Family’

Neil and Kirk created an exquisitely-paced and balanced narrative that really lent itself well to music; they got the balance right, so it gave me the perfect platform to balance my own thematic material in the right way. The final ‘Sayonara’ scene in the film is a particular favorite of mine: it’s where I’m able to bring back all the main themes of friendship, family, and survival for one last rendition before letting them go. All very satisfying – and not a dry eye in the house!

Final scene – ‘Sayonara’

Did you have any specific challenges while scoring for Kensuke’s Kingdom? How did you overcome them?

The biggest challenges for me weren’t the creative ones – I thrive on those, especially when you’re working with a team of filmmakers that you have huge respect for. The biggest challenge for me, by far, was to enable this score to fulfil its symphonic ambitions within the limitations of a tight budget. Managing that was pretty tough, and required recording outside of the UK with the orchestra. Even then, we had just four sessions with the orchestra over two days to capture all 74 minutes of score music – which was a daunting task. But, with many hours of meticulous preparation on my part, an incredible effort and commitment from the orchestra, and with the help of the mixing skills of Adam Smyth at String & Tins, I’d like to think I’ve produced a big epic score that sounds much more expensive than it actually was! The other tough challenge has come since completing the work, and that’s doing my bit to promote the film and get people to see it without the clout of a big studio push behind it, but hopefully it’s a film that people will love and come back to time and again in the years to come.

Were there any particular instruments or musical techniques you relied on to capture the unique environment of the island in the film?

It’s a very traditional score in its use of character themes and motifs, and uses the medium of the symphony orchestra in a pretty conventional way. But I also use a choir in various ways: at first, it’s textural and atonal when Michael is washed up on the mysterious island, and later the choir adds warmth as he grows to belong in his new environment, and then the singers are very much to the forefront in the ‘Nagasaki’ sequence.

‘Sakura Sakura’ – Nagasaki sequence

This is a flashback where we learn Kensuke’s origin story with an incredibly powerful depiction of the dropping of the atomic bomb. It’s an arrangement of a Japanese folksong where the power of the human voice delivers devastating and raw emotion, capped with the use of an 8-year-old Japanese girl soloist. There are also other exotic flavors in the score with the occasional use of world flutes (bamboo dizi and bass flutes) and taiko and toms percussion (particularly in the Hunt sequence.)

Looking back on the entire composition process for Kensuke’s Kingdom, is there one particular moment or scene where the music came together in a way that felt especially rewarding to you?

The ‘Nagasaki’ and ‘Sayonara’ sequences, as already mentioned, are particular favorites. Working on the extended action and drama of the ‘Hunt’ sequence was amazingly satisfying too. Another rewarding puzzle to have solved in the score was how best to musically capture the relationship between Michael and Kensuke. Neil and Kirk saw it as a love story and wanted a “love theme” to portray the companionship between the two castaways, with their initial suggestion being to somehow intertwine together existing themes for the two characters into something new. I just couldn’t make that work in a way that didn’t feel forced or contrived. In the end, I hit the jackpot with a very simple, sweet new theme played on the solo piano: it’s first heard when the two characters, after finding common ground, finally learn each other’s names about halfway through the film – it’s a very emotional scene! The directors liked the new piano theme so much that it features in many guises throughout the remainder of the score.

Love Theme – ‘Kensuke and Michael’

As a composer, you’ve worked on a variety of projects, including a few iconic advertisements as well. How does scoring for an animated feature like Kensuke’s Kingdom compare to scoring for live-action films or other media?

Yes, I do a lot of advertising music alongside my film and TV scoring work – the ads very much pay the bills! The obvious difference with ads is time – both the duration of the film and the time you have to work on it. You’re distilling an entire narrative score into the space of 30 seconds or less, which brings a whole new set of challenges! I’ve done music for US commercials in the last few months for Green Mountain Energy, a couple for Amazon Business, and I’m currently putting the finishing touches to a new US campaign for Emirates Airlines.

I do seem to be drawn to family/adventure films and TV though (such as Kensuke’s Kingdom, We’re Going On A Bear Hunt and my scoring on BBC’s fantasy series Atlantis), and I think my strength in orchestral scoring lends itself well to the sort of heightened reality that you often get with this sort of project, be it live action or animation. I’m starting shortly on the score for a new British sci-fi feature film called Stargazers, which is right in my wheelhouse and is going to be a lot of fun. I’ve always been fortunate to get a mixture of work, be it ads, TV, concert music, or films, and I hope that continues, especially with a brilliant calling card like Kensuke’s Kingdom under my belt!

The post Interview: ‘Kensuke’s Kingdom’ Composer Stuart Hancock Reacts to Annie Award Nomination appeared first on Awards Radar.

While Rishi’s arc extends across season three, fans of the show will surely remember him by his explosive journey in S3E4 “White Mischief,” a Christmas bottle episode for the ages. “White Mischief” legitimately stands out as one of 2024’s greatest episodes of television, and perhaps one of the greatest of all time. That may sound like hyperbole to some, but those who have seen the episode will surely understand.

“You go your whole career trying to get an episode like this as an actor,” says Radia. “To be challenged and pushed to this extent.”

The episode most notably reveals that Rishi is deep in debt due to his gambling addiction, an ailment that leads him down several other even darker paths. Radia taps into a shockingly physical performance as Rishi, his bloodied Christmas sweater and bruised face serving only as partial evidence of a night-gone-wrong for Pierpoint’s head trader.

Director Zoé Wittock does her best Safdie Bros impression with “White Mischief,” capturing Radia in extreme close-up and ratcheting up the agonizing tension across all 57 minutes. The actor even rewatched Uncut Gems as part of his preparation for the episode, as that film was unsurprisingly reference quite often by Wittrock and series creators Konrad Kay and Mickey Down.

“I just wanted to go in and watch Adam Sandler’s journey as an actor,” says Radia. “So it was more just looking at it from an emotional standpoint to see what he did.”

Both Rishi and Howard Ratner experience a whirlwind of highs and lows throughout their respective journeys, and like Sandler, Radia captures an uncanny intensity with his performance in “White Mischief.” Even as a brutal series of events beats him down both physically and mentally, Rishi continues to push back against his fate. That rebellious streak proves both costly and tragic by the end of season three, and Rishi’s position within the broader framework of Industry will now prove more crucial than ever before as fans look ahead to season four.

“Now the question is ‘who is Rishi and what does that look like going forward?'”

Check out our full conversation with Sagar Radia below. We discuss his own similarities and differences to Rishi, as well as his perspective on the South Asian representation on the show.

The post Interview: ‘Industry’ Actor Sagar Radia on Starring in One of 2024’s Best TV Episodes appeared first on Awards Radar.