Andrew Lockington Interview - This week on Sync Music Matters I’m joined by Canadian composer Andrew Lockington whose music you may have heard recently on shows like Mayor of Kingstown, Lioness and Landman. All shows which were created and directed by Taylor Sheridan 

We delve into the score for Landman, Andrew's creative process and how a lot of the music was written before any footage has been shot. We also discuss the art of embracing imperfection and how the emotion behind the music is maybe more important than the music itself. Andrew also reveals why he thinks that only 50% of composing is actually about the music.  

Andrew Lockington is best-known for his epic scores to the Warner Bros. blockbusters San Andreas, Rampage and Journey 2: The Mysterious Island, which together have surpassed over $1 billion in box office revenues.

Recent and current credits include Netflix’s epic sci-fi feature Atlas starring Jennifer Lopez and several projects with Taylor Sheridan including Mayor of Kingstown, Lioness and Landman.

Andrew is always looking to push the boundaries of film scoring which has led him to recording in exotic locations like jungles of Papua New Guinea, ancient temples in Northern Japan, a volcano in Polynesia and an abandoned subway station beneath central London.

Andrew Lockington on Instagram 

Andrew Lockington Website

 

In this episode of Sync Music Matters, I sit down with Jenn Anderson-Miller, a leading voice at the intersection of music, technology, and rights, to explore how How AI Is Reshaping the Music Industry from how music is made to how creators are protected.

About Jenn Miller - How AI Is Reshaping the Music Industry
Jenn Miller is the CEO and Co-Founder of Audiosocket, a forward-thinking music tech company revolutionising how music is licensed and used in media. With over 15 years of experience helping shape the music licensing landscape, Jenn is also the host of the insightful new series, Equitable Solutions for Creators in an AI Era.
Jenn has participated in the DOJ Copyright Roundtable Sessions and recently moderated a SXSW panel on the future of music rights management. She brings a wealth of knowledge, passion, and real-world experience to the urgent conversation about How AI Is Reshaping the Music Industry.

Traditional AI vs Generative AI: What’s the Difference?
We begin by unpacking the difference between traditional AI, which powers tools like recommendation engines and music data analytics, and generative AI, which can now create entirely new compositions, lyrics, and even synthetic vocals.
What does this mean for artists, composers, and rights holders.

Will AI Replace Human Composers?
Can generative AI replace human composers? That’s one of the key questions we explore. While AI is capable of generating music at scale, Jenn emphasises the emotion, humanity, and lived experience that only human creators bring - the very qualities that make music truly resonate.
We also examine whether the rise of AI-generated content will push audiences to seek out more authentic, human connection through music and what that might mean for the future of music.

Rights Management in the Age of AI
A major focus of our conversation is the evolving world of music rights management. As AI tools become capable of generating content that mimics real artists or samples existing work, who owns the rights to AI-generated music?
Jenn shares her expertise on the legal and ethical implications, the need for updated rights frameworks, and why protecting creators is more important than ever.

Key Takeaways:


AI will transform music workflows, but human creativity remains irreplaceable.


Emotion and authenticity are the core of what makes music meaningful.


The industry must modernize rights management systems to address AI’s impact.


Advocacy and equitable solutions for creators are key to shaping a fair future.


Interesting Article: Why AI Can’t Make Art (and Probably Never Will) https://lateralaction.com/articles/ai-cant-make-art/

Jack Halama Interview - In this episode of Sync Music Matters I'm talking to BAFTA nominated multi-instrumentalist, composer and producer Jack Halama.



He’s written for numerous productions including Disney+ comedy/drama Rivals to Netflix series Who Is Erin Carter? He’s also written additional music for a host of major series including Marvel's Loki, and Star Wars spin off Obi Wan Kenobi. 



Jack has a diverse background that straddles contemporary and classical education. Jack draws on eclectic range of influences blending guitars, synths and classical elements to create a unique style.



Rivals has a very distinct musical identity and Jack talks about the importance of making bold musical choices in order to create that identity. He also wonders whether it's also the key to winning pitches. The importance of creating your own sounds and specifically recording instruments underwater.



We nerd out on what plugins and synths he uses and also talk about the underwater recordings he made for Netflix' Who is Erin Carter - he literally recorded a guitar and cello underwater which makes for a unique sound palette.
This Jack Halama Interview is available wherever you get your podcasts



Jack Halama Website



Jack Halama Instagram



 

This week's episode of Sync Music Matters Doug Bryson Interview Doug -  edits and curates the music for the award winning TV series Mortimer and Whitehouse: Gone Fishing

Doug Bryson Interview

BAFTA nominated Doug Bryson is TV and Film editor who, in his own words, tells stories with pictures that you might see on the telly.

He has cut shows such as Grand Designs and 24 Hours in Police Custody but is perhaps most recently known for his work on Mortimer & Whitehouse: Gone Fishing. 

If you aren’t familiar with the show, it follows comedians and lifelong friends, Bob Mortimer and Paul Whitehouse as they embark on fishing adventures around the UK and share their personal and hilarious experiences of life.

It’s a visual feast of picturesque landscapes paired with beautiful music which is lovingly curated by Doug.  

We chat about the Chuck Berry track Mad Lad and how it was replaced because it became too expensive to licence, Bob Mortimer's musical input, Flotation Tanks and Star Wars.

You can find Doug Bryon on Instagram - editordoug

Doug Bryson's website 

This episode of Sync Music Matters is an interview with Aaron May and David Ridley about scoring the Netflix series Adolescence and the power of collaboration

Interview with Aaron May + David Ridley

Aaron and David are the progressive composer duo responsible for scoring Netflix’ recent psychological crime drama Adolescence 

Other credits include ITVs Malpractice and the 4x BAFTA nominated feature Boiling Point.

Aaron and David met at Bristol Uni, where they were doing a Masters in Composition. They played in bands together before collaboratively scoring their first short in 2017. 

Since then they’ve gone on to create bold, distinctive soundtracks blending contemporary classical and electronic elements . Their working practice puts an emphasis on experimentation and conversation, both with each other and their co-creatives in order to harness the power of collaboration.

Website: Aaron May & David Ridley

Instagram: aaron_and_david

 

Interview with Ryan Dickinson - Ryan Dickinson has spent the  last 10 years working within the advertising and video game industries as a creative director, music composer and sound designer. He’s worked for world renowned companies such as MassiveMusic, EA Games and Squeak E Clean.

He has also worked on sonic branding, helping to craft award winning sound for brands such as Kathmandu, The Australian Open & Canva (winning gold & silver Transform Awards)  

Ryan is the director of “made by ikigai” which is a full-service music & sound agency. 

Ikigai is a Japanese term that blends two words: “iki” meaning “to live,” and “gai” meaning “reason”, which translates to “a reason to live.” It's a concept that encourages people to discover what truly matters to them and to live a life filled with purpose and joy.

In this interview with Ryan Dickinson We discuss ikigai and finding a profession that fills you with purpose. Ryan talks about being a freelancer, the importance of making yourself stand out and how personal branding can be a key component. Ryan and I both made a major career shifts into music later in life so we also talk about pivoting and how to make it work.

Ryan Dickinson website

Ryan Dickinson on Instagram

Jim Hustwit is the host of Sync Music Matters

Interview with Vanbur - In this episode of Sync Music Matters I'm chatting to Vanbur aka Jessica Jones and Tim Morrish.

We’ll be chatting about their work on One Day, the Netflix adaptation of the novel by David Nichols which interestingly, seems to resemble their story. We’ll also be digging into their creative process, the power of collaborating and the liberating power of restricting yourself creatively.

We also chat Jaffa cakes... again!

Vanbur is the artist project of composers Jessica Jones and Tim Morrish. Their sound can best be described as ethereal vocals floating on a bed of contemporary and haunting cinematic score. 

They recently worked alongside Anne Nikitin on the score for Netflix’s One Day and also had a number of their Vanbur  tracks featured as part of the soundtrack. 

Independently they’ve worked on shows like the long running comedy drama series Brassic, Netflix’s true crime show American Nightmare, Tinder Swindler and Jimmy Saville: A british Horror Story

They are also working on a new album due out at the end of 2025.

Listen to Vanbur on Spotify

 

This episode of Sync Music Matters is an Interview with Arn Andersson

Arn Andersson is a Norwegian multi-instrumentalist, composer and music producer.

In pursuing a passion as a profession we are treading the line between art and commerce and sometimes we can focus so much on the commerce that we lose sight of the passion. Arn talks about his journey and not being afraid to try new things but also pivot if necessary.

Arn has some deep insights on creativity and shares his daily practice of the Morning Five. Essentially writing a piece of music whilst restricting himself to just five instruments. He developed it as an antidote to overthinking his creative process.

Arn has some deep insights on creativity and shares his daily practice of writing a piece of music whilst restricting himself to just five instruments. We also chat about his current documentary project of exploring different musical cultures from around the world.

He’s written music for trailers and libraries of which some credits include the Netflix natural history documentary “The Living World”, The Lego Movie (the second part) and The Netflix documentary Beckham.

Arn has also dabbled in sound design, has worked with artists and labels and is the co-founder of Evenant which is a platform for providing education and tools for aspiring creatives in Music & Art.

Today, Evanant has a community of over 300,000 people across over 100 countries, and an educational library of over 360 hours of content.

Interview with Arn Andersson 

(00:00:00) Introduction

(00:01:52) What was your path into music?

(00:13:09) Five Layers composing technique

(00:21:18) Under The Skin - Finding Rhythm

(00:35:42) Cofounding Evanant courses

(00:45:57) Resources that have helped you in your career\

(00:48:43) Getting a Taste - Music and art that has shaped you creatively

(00:54:06) Creativity practice 

You can listen to Arn's Music here: Website

Arn on Instagram

This episode of Sync Music Matters is an Interview with Sam Stockham the creative Sync and Licensing manager at Involved Publishing
Sam began his career in music at Columbia Records as an A&R assistant whilst studying for a music business degree 
Post university he then began working in commercial rights and business affairs for the BBC.
He later joined Universal Production Music where over 12 years he rose through the company to biome Head of Music Supervision.  Whilst at UPM he worked across all forms of media, syncing thousands of hours of music in film, tv and advertising and building relationships with some of the biggest broadcasters, production companies and brands in the UK and around the world.
In 2024 he joined independent music publisher Involved Publishing as their Creative Sync & Licensing Manager.  As well as the publishing roster he is also responsible for sync across the groups iconic Anjunabeats, Anjunadeep and Anjunachill 
The roster includes a wide variety of artists, producers and writers such as Above & Beyond, Seven Lions, Dusky, Yotto, CRi (pronounced creee), Durante, Qrion, Jason Ross, Lane 8, Nicky Elisabeth, Cephas Azariah, Caitlin Stubbs, Mark Barrott, Sophia Bel, Joe Brown, Mark Zito, Dylan Matthew, and Sam Burger to name just a few.
Interview with Sam Stockham
(00:00:00) Introduction
(00:01:58) What was your route to music?
(17:21:12) Under The Skin - how has the sync landscape changed?
(27:43:12) How will AI Shape Music?
(30:28:00) Royalties - TV vs Online
(36:54:00) Is branding important in music?
(40:40:19) Getting a Taste - What music and art has shaped you?

This episode of Sync Music Matters is an interview with NYX's  Sian O'Gorman about the scoring of the BBC series Dope Girls
NYX is a collective of experimental vocalists and electronic artists based in London.
In Greek mythology, NYX is the primordial goddess of the night, born from chaos giving birth to light and day. And it’s this duality which inspires their creativity.NYX blend traditional vocal techniques with cutting-edge sound design, and in doing so they craft sonic worlds that bridge the ancient and the futuristic
In 2020 their collaborative album Deep England with Gazelle Twin was named one of The Guardian’s top ten contemporary albums and in 2021 NYX received Film London’s Breakthrough Talent Award. They have just completed their debut TV score for the BBCs Dope Girls due out in the first half of 2025 and are due to release their debut album NYX in March 2025
Some of Sian's musical influences which aren't mentioned in the show include:Her hero Joe Hisaishi "I listen to my Miyazaki film soundtracks almost daily"The Dark Crystal Age of Resistance OST by Daniel PembertonMica Levi's Zone of Interest score "My mind was completely blown"Colin Stetson forever!
Centred around care, connection, and collaboration, the collective creates immersive sonic landscapes that traverse the full spectrum of human emotion – from the depths of grief to ecstatic joy. Their work balances ritualistic intensity with playful exploration, offering audiences a transformative experience to ground themselves in the power of sound and embodiment. Drawing on influences from psychoacoustics, somatic practices, and experimental sound design, NYX operates at the intersection of composition and improvisation.
At the heart of NYX’s artistry is a distinct compositional process led by music director Sian O’Gorman. Each piece begins as a deeply personal act of vocal experimentation and layering, evolving into dynamic sonic landscapes shaped collaboratively with performers. This process blends improvisation with precise direction, resulting in music that feels both curated and alive.
(00:00:00) Introduction
(00:02:00) Interview with NYX - What was your path into music
(20:19:06) Under The Skin - Dope Girls and the debut Album NYX
(56:16:00) Getting a Taste - What music and art has influenced you?
You can find out more and listen to NYX on their website www.nyx-edc.com/
NYX on Instagram


Follow me for Podcast updates Jim Hustwit

Anna Meredith Interview

In this weeks episode of Sync Music Matters I'm talking to Anna Meredith MBE

Anna was awarded an MBE for Services to Music in the 2019 Queen’s Birthday Honours List.

She’s a genre-crossing composer and producer whose work blends the worlds of contemporary classical, art pop, electronica and experimental rock.

In terms of her artist work you can check out Varmints for which she won the Scottish Album of the Year award and Mercury Prize nominated album FIBS which Pitchfork lauded as one of the best experimental albums of 2019 

Recent Film credits include The End We Start From starring Jodie Comer, Paul Rudd’s dark comedy Living With Yourself for Netflix  and A24s Tuesday starring Julia Louis-Dreyfus which is due to be released this year. 

Anna Meredith's Website

In this episode of Sync Music Matters I’m interviewing Jeanie Finlay



Jeanie Finlay is a documentary filmmaker. 



She has made films for HBO and the BBC including four commissions for the acclaimed BBC Storyville strand such as BIFA nominated The Great Hip Hop Hoax and BIFA winning Orion: The Man Who Would Be King



She directed the Emmy Nominated Game of Thrones: Last Watch which was a behind the scenes look at the making of the final series. 



Her most recent film, Your Fat Friend, is in cinemas now and is a documentary following author and blogger Aubry Gordon who writes about fat acceptance and anti fat bias. 



During the course of this interview we also delve in to Jeanie's rich musical past and her general love of creating.







In Episode 17 of the Sync Music Matters podcast - Interview with Anna Meredith, we discuss her work as a genre-crossing composer and producer, and chat about her MBE for services to Music in the 2019 Queen’s Birthday Honours List. She also won the Scottish Album of the Year award and has a Mercury Prize nominated album FIBS for her own artist project.

Interview with Jed Kurzel



This week on Sync Music Matters I'm talking to Australian singer-songwriter, guitarist and film composer Jed Kurzel



Jed originally started out as the singer and frontman of the blues rock duo The Mess Hall before turning his attention to composing for film.



He won the Screen Music Awards Film Score of The Year for his debut film Snowtown. The film which gained international recognition, explores the relationships between the murderous gang members behind a spate of killings in Adelaide, Australia in the 1990s 



Jed has since gone on to score feature films like The Pope’s Exorcist, The Babadook, Slow West and Macbeth to name but a few.



In this interview with Jed Kurzel we chat about his childhood obsession with sport and somewhat unplanned foray into scoring film. 







Listen to Jed Kurzel on Spotify







In Episode 16 of the Sync Music Matters Podcast - Interview with Jeanie Finlay, we touch on Jeanie's time making films for HBO and the BBC, as well as directing the Emmy-nominated Game of Thrones - The Last Watch, a behind-the-scenes documentary taking a look at the making of the hugely successful series, Game of Thrones.

In this week’s episode of Sync Music Matters I’m talking to multi award winning composer, artist and producer Hannah Peel
Last year Hannah Peel won the Ivor Novello Best TV Soundtrack award for her score to Sky’s Midwich Cuckoos starring Keely Hawes.
Having previously won awards with the Royal Television Society and Music Producers Guild
She was Nominated for an Emmy for work on the documentary Games of Thrones - The Last Watch and is a regular collaborator with Paul Weller
She is currently collaborating with Anne Nikitin.
Also dabbles in a bit of theatre including productions at Sadler's Wells and as if that weren’t enough, she also presents the BBC radio 3 show Night Tracks
Often inspired by the connections between science and music, her solo record career includes the shortlisted 2021 Mercury Music Prize electronic album, Fir Wave; 2016's Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; and connecting our brain neurons to stars in our solar system, the space-themedMary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band.
A regular collaborator with Paul Weller, in 2018 she conducted and wrote all the orchestral arrangements for his shows at London's Royal Festival Hall and contributed to his new no.1 album ‘On Sunset’. A year later Peel composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an 2019 Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’.
Hannah Peel Website
Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads.






In Episode 15 of the Sync Music Matters Podcast - Interview with Jed Kurzel, we discuss his starting out as the singer and frontman of the blues rock duo The Mess Hall before turning his attention to composing for film, where he went on to win international recognition and awards for his composition work in the industry.

Cristobal Tapia de Veer is a Chilean-born Canadian composer and producer who shot to fame in 2013 with his score for the deliciously sinister and mysterious TV series Utopia.
Since then he’s scored the 2016 film The Girl with All The Gifts, Black Mirror’s Black Museum and of course White Lotus season 1 and 2 for which he won a ‘Primetime Emmy Award for Outstanding Original Main Title Theme Music’
Cristobal brings a real sense of irreverence to his scores and seems to delight in making the viewer feel uncomfortable.
If you listened to the first ever episode of Sync Music Matters when I interviewed Stephen Warbeck you might remember we talked about Cristobal Tapia de Veer and his score for the first White Lotus. So what a thrill to have the man himself to chat about
The White Lotus Soundtrack
You can follow Cristobal on Twitter @CristobalMusic
Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads


In Episode 14 of the Sync Music Matters Podcast - Interview with Hannah Peel, I talk to Hannah on her multi-award-winning career as a composer, producer and artist, having worked on the likes of Sky’s Midwich Cuckoos starring Keely Hawes, the documentary Game of Thrones - The Last Watch, as well as dabbling in theatre including productions at Sadler's Wells.

In this episode of Sync Music Matters I’m talking to Producer, Editor and Post Production specialist Stephen Haren about working on His Dark Materials and other award winning TV series and films.
Stephen wears a number of creative hats so I was keen to understand how that informs his application of music.
We go under the skin of His Dark Materials, the series based on the books by Philip Pullman.
Stephen talks about the active role he played in re-temping the series so that music had more gravity to it. 
He used temp score by the likes of Trent Reznor (The Social Network), Marco Beltrami (A Quiet Place) but also preprepared cue ideas provided by the series composer Lorne Balf. 
Temping movies with the composers own score is something I chatted about with editor of The Crown, Paulo Pandolpho in Episode 8
We also go under the skin and talk about the very different approach to soundtracking Northern Soul, the Elaine Constantine film starring Steve Coogan. The soundtrack for which was made up entirely of original songs.
As with a lot of my interviews we talk about the lack of melody in modern film score. I chatted to Isobel Waller Bridge about it in episode 5 and Nanita Dessai in episode 8. Nainita offered directors’ reticence to commit emotionally as a reason. Stephen has some fascinating alternative theories!
We also chat about the pitching process for composers for major TV series and films, the revealing process of watching audience previews during the production process. And Stephen and I share our love for the epic guitar riffs of the late Dimebag Darrell of the band Pantera
Stephen Haren's Website
His Dark Materials Soundtrack
Some of Stephen Haren's Musical Influences
Logan Soundtrack
Social Network Soundtrack
Mindhunter Soundtrack
Northern Soul Soundtrack
Johnny Dankworth
The Good The Bad and The Ugly Filmscore
Bernard Herrman
Pantera - Vulgar Display of Power
Jerry Goldsmith - Alien (Original Score)
Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads






In Episode 13 of the Sync Music Matters Podcast - Interview with Cristobal Tapia de Veer, I talk about his work scoring the likes of the 2016 film The Girl with All The Gifts, Black Mirror’s Black Museum, and White Lotus seasons 1 and 2, for which he won a ‘Primetime Emmy Award for Outstanding Original Main Title Theme Music’.

In this episode of Sync Music Matters I’m talking to Emmy Award Winning Michael Price.
Michael talks about his journey from the music department of WHSmith’s to composing for shows like Sherlock and Unforgotten. 
He reveals the challenges of composing music over multiple series and how his creative approach changes when writing music as a solo artist. 
He talks fondly of his time working with the late great Michael Kaman who apparently used to try and improvise action cues in a single take. 
Several life milestones that have changed the ways that he wants to create and write music. In Episode 7 Danny Mulhern talks about improvisation and flow state which Michael also draws on heavily to be at his creative best.
Michael Price Biog
Emmy Award winning Michael Price has composed music for TV shows such as Sherlock, Dracula, and Unforgotten. He has received numerous award nominations and was recently nominated for a BAFTA and an Emmy for his work on Dracula with David Arnold.
His film scoring work includes films such as Eternal Beauty, Cheerful Weather and Just Jim 
As well as being a master of music for TV and Film, Michael releases music as a solo artist. 
His solo work takes the form of beautiful improvised piano works, as heard on albums like Diary, or via the more lush, grand orchestral work, that you might hear on critically acclaimed releases Entanglement (2015) Tender Symmetry (2018) from via Erased Tapes’
His lastest release, The Hope of Better Weather, is rooted in the piano world but also exists as a bridge crossing into new terrain, including reworks and remixes from the likes of Yann Tiersen, Bill Ryder-Jones and Eluvium 
And his forthcoming album, Whitsun, is an exploration of the connection between sound and memory. 
Michael Price's website
Some of Michael Price's Musical Influences:
Michael Kaman
Keith Jarret - Concert in Koeln
John Tavener - The Protecting Veil
Arvo Paert
Japan - Ghosts
 
Jim Hustwit is a music producer and composer specialising in trailer music, production music and music for TV ads.
 


In Episode 12 of the Sync Music Matters Podcast - Interview with Stephen Haren, we talk about his time working on His Dark Materials and other award winning TV series and films.

In today’s episode of Sync Music Matters I’m talking to music producer and Creative Director of Evolving Sound, Jules Bromley



Evolving Sound is a UK trailer music label and their mission is to deliver unparalleled, dramatic music designed specifically for theatrical promotion.



Their tracks are custom-built to enrich, enhance, illuminate and contextualise awesome visual content



Recent syncs include, Jurassic World: Dominion, 1917, Last Night in Soho, and Don’t Breathe 2



Jules’ career began in dance production and remixing, with a host of remix credits for the likes of Texas, Bran Van 3000, and David Arnold. He spent many years writing production music and has written for 25 albums on the Universal Production Music Catalogue.



We go under the skin of Jurassic World: Dominion which was a recent custom trailer job they were involved with. 



I ask Jules to break down the process of how trailers come into being from a studio starting a movie shoot to the final trailer that hits the screen and of course where the music fits into all of this. He also talks us through the structural nuances of trailer music and the 4 act structure



Jules also has a fascinating backstory as he studied Land Economy and foreign languages at Cambridge University before quitting his job in his late 20s to pursue music.



Evolving Sound Website
Some of Jules Bromley's Musical Influences:



Columbo "Rockabilly Bob"



Rimsky-Korsakov
Original Alien Trailer



Brian Transeau BT



Masters at Work



The Upbeats



Rush




Iron Maiden
About the host: Jim Hustwit is an award winning songwriter, composer and producer who writes trailer music and bespoke music for TV, film and ads. 



In Episode 11 of the Sync Music Matters Podcast - Interview with Emmy Award-Winning Michael Price, we talk about Michael's journey from the music department of WHSmith’s to composing for shows like Sherlock and Unforgotten.

In this episode of Sync Music Matters, Paulo Pandolpho talks about his journey from making films with his dad’s VHS camcorder in Brazil to becoming an Emmy nominated editor on The Crown. 
He has a particular love for everything music and sound so we dig into how he uses music. So for example in the initial stages of The Crown, he often creates a temp score using the composers own music. On the series Apple Tree Yard Paulo was given much more freedom to work creatively with the composers stems.
We discuss the importance and power of creative compatibility in a working relationship, the difference between cutting long form narrative vs cutting movie trailers and the pressure of working with someone looking over your shoulder.
Paulo reveals the influence that films like Jurassic Park and Psycho had on his creative journey and we touch on the the sterling work of Hollywood greats like Gerard Butler, Steven Seagal and Jean Claude Van Damme
Paulo Pandolpho is an Emmy nominated TV and film editor who is currently working on season 5 of The Crown, having previously worked on season 3 and 4. 
His Emmy nomination was in the category Outstanding Single-Camera Picture Editing For A Drama Series - 2021 for The Crown season 4?
Other credits include BBC series Dracula, The Origin by Andrew Cumming, Tin Star starring Tim Roth for Sky Atlantic, Les Miserables and Apple Tree Yard
Paulo Pandolpho on IMDB  
 Stop Motion Animation of Jurassic Park Raptor Scene
Alessandra Casolari 
Fernando Meirelles 
Martin Phipps - Composer of The Crown
Midsommer Original Motion Picture Score by Bobby Krlic 
Bernard Herman 
Frankie Valli
The Killers
Jim Hustwit is a composer and music producer working in production music and trailer music. He also writes music for TV ads and podcast intro music


In Episode 10 of the Sync Music Matters Podcast, I'm talking to Jules Bromley of Evolving Sound, a UK-based trailer music label with a mission to deliver unparalleled, dramatic music designed specifically for theatrical promotion.

In this episode of Sync Music Matters I’m talking about composing trailer music with Rolf Krueger. 



So the format of this episode is different than usual. It’s somewhere between an interview and a Musical Musing. Essentially I ask Rolf questions and he responds but I then expand on what he says and what learning we can take from it.



Rolf and I talk about succeeding in music without any formal training, where to find musical inspiration, how to switch off and relax. We also talk plugins and outboard gear.  







Rolf Kruger started cutting his musical teeth back in 1993 working for the label Selected Sound - with whom he spent 20 years as one of their top composers. 



In 2013 Rolf’s love of movies led him to the US based trailer music house X- Ray Dog founded by Mitch Lijewski.



Since then Rolf has been composing trailer music and has enjoyed trailer cuts with Avengers: Infinity War, Paddington, Mary Poppins Returns, Playing With Fire, Split, Fantasy Island, The Shallows



You may have heard his music in ads for The American Horror Story and The American Crime Story.



In 2018 rolf won Best Trailer Production Music Track - The Promise at the Production Music awards



Rolf is currently writing for the Atomic Overture catalogue and you can also hear a veritable plethora of Rolf's work with BMG and Universal Production Music.







You can listen to a selection of Rolf's Music here: Rolf Krueger Trailer Music