Four For Music the Soundtrack Podcast is a series of podcasts for film and game scores that George Strezov from Four for Music is hosting.

This episode, the final for the first season of the FFM podcast, is with David Buckley  - a composer of films and TV shows such as: The Town, The Good Wife, Fifty Shades Darker (co-composer with Danny Elman), The Good Fight and games like: Shrek Forever After, Call of Duty: Ghosts and many more.

What are the positive and challenging aspects when working on joint projects with other composers? David is talking about the experience he had co-writing music with Harry Gregson-Williams on The Town and Gone Baby Gone, John Powell on Jason Borne, John Ottman on The Nice Guys and Erran Baron Cohen on Grimsby. He is speaking about his approach on some of these impressive projects.

What does it take to work on such large scale productions - what are the skills that one should have in order to handle the communication and find the right balance between the ego, the ability to adjust one's opinion and see the other people’s perspective in order to have the job done - these are some of the themes that occupy the first part of the conversation.
Some practical points such as distributing cues are mentioned in that part of the podcast.

In the middle part of the conversation David and George are talking about negative feedback and how they’ve coped when they have received critical notes concerning their work. David gives some valuable advice and ideas.

Then they discuss how they approach music compositions for films which are completely different like Forbidden Kingdom and Nobody. David shares that he is not as much influenced by the concrete film or genre, but by the things that he likes as a person and creator in general. How certain specifics speak about one's style, musical aesthetics and background - these topics are on focus as well. The names and the work of Hans Zimmer and Thomas Newman are brought up.

Whether your style can become your prison and how the expectations that you yourself, as a composer, have set can affect your creative path - hear what George and David have to say later in the audio.

Last minutes of the podcast concern some of the challenges regarding recording sessions. Samples are on focus. How they’ve been changing and evolving over the years and the way they influenced the process of presenting and approving certain compositions. How the sound samples affect the expectation for the orchestral recording - that is a point also discussed.

Hope you enjoy that podcast and all series from the first Season of Four For Music the Soundtrack Podcast! Cheers!


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