Soundtrack News: Web of Make Believe: Death, Lies & The Internet (Soundtrack From the Netflix Series) is Available Now

 Netflix is excited to announce the release of Web of Make Believe: Death, Lies & the Internet (Soundtrack From the Netflix Series) with music by composer John Dragonetti. The 21-track album is available now on major digital platforms.

Dragonetti created a unique soundscape using an antique piano, creating interesting percussive sounds, as well as an old metal fan, hitting it to create a reverb. Those sounds were the basis for a lot of the drum tracks in the score. Director Brian Knappenberger gave Dragonetti a lot of creative freedom, allowing him to experiment in new and exciting ways.

“A lot of the music doesn’t sound like your usual documentary score. I got a lot of inspiration from music and bands that I’ve loved over the years that aren’t necessarily film music…channeling psychedelic textures with post punk and 80s British synth music,” says Dragonetti.

Director Brian Knappenberger says of the score, “John Dragonetti’s stunning soundtrack for Web of Make Believe is an explosion of musicality that lands us – poignantly – in the sweet spot of this age of chaotic misinformation. Experimental but familiar, it is a drumbeat for humans searching for truth in the technological whirlwind. And like the high note you barely hear at first but becomes more present, there is hope. After all we are emotional creatures stepping into the void of an uncertain future, but it’s going to be okay.”

From Oscar-winning executive producers Ron Howard and Brian Grazer (“A Beautiful Mind”), this docuseries helmed by acclaimed director Brian Knappenberger (“The Trials of Gabriel Fernandez”) tells harrowing true stories of the internet age.

Web of Make Believe: Death, Lies & the Internet (Soundtrack From the Netflix Series)

Tracklisting – 

1. I Am Trying to Forgive (2:52)

2. Cheers From the Bazement (Main Title) (1:59)

3. Gored Tutor (1:49)

4. Mod Chip Scam (2:23)

5. Adelina (3:11)

6. Unanswered Questions (2:13)

7. Floppy Disk (Prelude) (1:24)

8. Floppy Disk (2:19)

9. A Name and a Face (3:34)

10. Loving Yourself (1:58)

11. In the Land of Make Believe (3:15)

12. Before You Die (2:43)

13. No School Today (2:32)

14. Death Index Gold (3:15)

15. Caught in a Metal Fan (2:33)

16. Without Any Consequences (0:50)

17. Pleasant Sadness (2:25)

18. The Lull (1:23)

19. I Remember Waking Up (1:06)

20. Star Chaser (2:24)

21. Burning Castle (2:56)

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Soundtrack News: Summering (Original Motion Picture Soundtrack) Available Now

Madison Gate Records is excited to announce the release of Summering (Original Motion Picture Soundtrack) with music by Drum & Lace. Coinciding with the film’s release, the 23-track album is available today, August 12, on major digital streaming platforms.

The evocative score is a mix of real and synthesized voice, layers of lush synths, plucky and resonant bells, and solo strings and piano. The music perfectly captures the feelings and emotion of the last weekend of summer, as well as supports the timelessness that the movie possesses and puts forth.

Drum & Lace, aka Sofia degli Alessandri-Hultquist, is an artist and composer from Florence, Italy. Her music has been described as being genre-fluid and having a “chameleon-like nature” (A Closer Listen), melding together sampled field recordings, lush layers of synths, chamber instruments and electronic beats. She draws inspiration from film music, music concrete and nature to create textural electronica, often blending unlikely sounds with one another. 

“Creating the score for this film and getting to work with this team was so wonderful and felt so familiar from the start – there was little hesitation on my end as to what I thought a good palette could be to help support the picture. Director James (Ponsoldt), editor Darrin (Navarro), and I seemed on the same page from the start, and the way James talked about the film resonated deeply with me,” said Drum & Lace.

About Summering:

As their last summer before middle school comes to a close, four best friends face the uncertainties of growing up and embark on their biggest adventure yet.

Summering was an Official Sundance Film Festival Selection in 2022.

Summering (Original Motion Picture Soundtrack)

Tracklisting – 

1. Summer Lawns (1:28)

2. Last Weekend of Summer (1:26)

3. End of Summertime Girls (4:32)

4. That Can’t Be Real (0:59)

5. Loose Lips Sink Ships (1:58)

6. Burning Lavender (1:44)

7. You Found Him (2:25)

8. This Is on Us (0:52)

9. Your Colors Are Off (1:00)

10. 100 Feet (0:49)

11. Somebody’s Going to See (2:05)

12. Fine, Pick Him Up (0:52)

13. Laters (1:14)

14. Hands Like Leaves (2:01)

15. Who’s There (1:41)

16. He Had A Family (0:54)

17. The Stuff We Used to Say (1:33)

18. A Séance (3:13)

19. Unexpected Visitor (3:35)

20. Where Have You Been (0:51)

21. You’re a Good One (1:27)

22. Murmurations (2:35)

23. Our Tree (2:50)

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Soundtrack News: Thirteen Lives (Amazon Original Motion Picture Soundtrack) Available Now

Milan Records is excited to announce the release of the Thirteen Lives (Amazon Original Motion Picture Soundtrack) by composer Benjamin Wallfisch. This 15-track album is available now, on all major digital platforms and the film is available to stream now exclusively on Prime Video in more than 240 countries and territories worldwide.

Golden Globe, BAFTA, 2x Grammy, Emmy and 5x World Soundtrack Award nominated composer Benjamin Wallfisch has worked on over 80 feature films, collaborating with directors including Ron Howard, Ted Melfi, Andy Muschietti, Christopher Nolan, David F. Sandberg, Leigh Whannell, Gore Verbinski, and Denis Villeneuve. His upcoming projects include Ron Howard’s THIRTEEN LIVES for MGM / Amazon and Andy Muschietti’s THE FLASH for DC / Warner Bros.

Thirteen Lives recounts the incredible true story of the tremendous global effort to rescue a Thai soccer team who become trapped in the Tham Luang cave during an unexpected rainstorm. Faced with insurmountable odds, a team of the world’s most skilled and experienced divers – uniquely able to navigate the maze of flooded, narrow cave tunnels – join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of the twelve boys and their coach. With impossibly high stakes and the entire world watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process.

Wallfisch spent three months working almost daily with director Ron Howard. Of their work together, Howard said:

“Music has always played a vital role in my films, often times serving as a character itself. It was important to us that the music in Thirteen Lives helped us to further embody the Thai culture and create that key element of suspense. My vision for the score was for it to set a tone that was chilling, while also subtle and distinctive. Ben delivers on all those elements, and his score for the film is remarkable. I’m thrilled for audiences to enjoy the experience of listening to it.”

Wallfisch added: 

“The responsibility of finding a musical analogue for this story of unimaginable heroism, without over-dramatizing or trivializing the true events, and of course incorporating the complex and rich musical heritage of the region, was a unique challenge, and one I couldn’t have done without the incredible collaborative spirit Ron has. An honor of a lifetime.”

Some of the finest classical and folk musicians in Thailand were featured in the score, but Wallfisch also hired cello and piano soloists from the UK, as a way to bring two musical cultures together in the spirit of international collaboration that was so essential to the rescue effort.

The score is also at times very experimental, manipulating instruments to make them sound as if they are being warped under water, and with the percussion of the ticking clock being made from samples of the scraping, tapping, and air escape from oxygen canisters, alongside many other unusual score concepts.



1. Thirteen Lives (3:51)

2. Tham Luang (2:36)

3. Rain (2:44)

4. Flood (1:01)

5. Dive (3:50)

6. Navy SEALs (3:33)

7. Oxygen (2:15)

8. Prayer (4:18)

9. Track 9 (4:19)

10. First Customer (1:15)

11. White Umbrella (3:23)

12. Everyone Leaves Today (4:35)

13. All But One (2:05)

14. Reunion (3:16)

15. Soh Long Nan (2:53)

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Soundtrack News: ‘Inu-Oh’ Original Soundtrack Available Now

Milan Records has released the Inu-Oh (Original Soundtrack), an album of music from visionary director Masaaki Yuasa’s latest animated feature about a duo of classical Japanese dance theater performers who take medieval Japan by storm when they begin infusing their traditional performances with a taste of glam-rock. 

Available everywhere now, the album features both instrumental score music and original Japanese vocal tracks written by pioneering composer, multi-instrumentalist and turntablist Otomo Yoshihide. A consummate artist whose experience includes everything from experimental noise music and improvised jazz to contemporary classical and avant-garde pop, Otomo Yoshihide was well-equipped to capture the anachronistic quality of the film’s music, which ranges from traditional score numbers featuring the classical Japanese biwa to modern rock operettas with vocals by Inu-Oh character voice actors Avu-chan (of QUEEN BEE) and Mirai Moriyama.


From visionary director Masaaki Yuasa, hailed by IndieWire as “one of the most creatively unbridled minds in all of modern animation,” comes a revisionist rock opera about a 14th-century superstar whose dance moves take Japan by storm.

Born to an esteemed family, Inu-oh is afflicted with an ancient curse that has left him on the margins of society. When he meets the blind musician Tomona, a young biwa priest haunted by his past, Inu-oh discovers a captivating ability to dance. The pair quickly become business partners and inseparable friends as crowds flock to their electric, larger-than-life concerts. But when those in power threaten to break up the band, Inu-oh and Tomona must dance and sing to uncover the truth behind their creative gifts.



  1. Birth – Otomo Yoshihide
  2. A Thousand Biwa Players – Otomo Yoshihide
  3. Journey – Otomo Yoshihide
  4. Dengaku – Otomo Yoshihide
  5. Masked Creature – Otomo Yoshihide
  6. Growth – Otomo Yoshihide
  7. Encounter – Otomo Yoshihide
  8. Prayer – Otomo Yoshihide
  9. Divine Sword – Otomo Yoshihide
  10. Soliloquy – Inu-oh (CV: Avu-chan)**
  11. Ghosts of the Heike Clan – Otomo Yoshihide 
  12. INU-OH I – Tomoichi (CV: Mirai Moriyama)**
  13. Burial Mound of Arms – Inu-oh (CV: Avu-chan)**
  14. INU-OH II – Tomoichi (CV: Mirai Moriyama)**
  15. The Whale – Inu-oh (CV: Avu-chan)**
  16. Viewing the Cherry Blossoms – Otomo Yoshihide
  17. Sinister Designs – Otomo Yoshihide
  18. INU-OH III – Tomoari (CV: Mirai Moriyama)**
  19. Dragon Commander – Inu-oh (CV: Avu-chan) & Tomoari (CV: Mirai Moriyama)**
  20. Ending Theme – Otomo Yoshihide

**Denotes vocal track

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Soundtrack News: ‘Bullet Train’ Original Soundtrack Available Now

Milan Records has released BULLET TRAIN (ORIGINAL MOTION PICTURE SCORE) with music by composer Dominic Lewis. 

Available everywhere now, the album features music written by Lewis for the action-thriller film starring Brad Pitt as Ladybug. Directed by David Leitch (Deadpool 2), the film is a nonstop thrill ride, with Lewis’ compositions to match. Working in close collaboration with Leitch, Lewis crafted an expansive soundscape covering a wide range of genres and styles, each tailored to the dynamic onscreen story and its cast of characters. 

In Bullet Train, Brad Pitt stars as Ladybug, an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug’s latest mission puts him on a collision course with lethal adversaries from around the globe—all with connected, yet conflicting, objectives—on the world’s fastest train. The end of the line is just the beginning in this non-stop thrill-ride through modern-day Japan from David Leitch, the director of Deadpool 2.

Of the soundtrack, composer Dominic Lewis had the following to say:

“I really tried to approach this score as some form of concept album, asking myself, ‘What is the perfect needle drop for each moment that tells story and weaves in out of the movie’s arcs, disguised as a song but doing the job of score?’ ‘What if you were flicking through an old vinyl collection and found an obscure ‘70s record, used that for your samples on your album?’ That was the idea for the Bullet Train score, only I had to create that record before approaching each scene.” Speaking of his experience working with director David Leitch, Lewis continues, “A blank canvas can often be accompanied with instructions of which paints to use and where. Not with David. Without his trust, vision, and a collaborative experience that is second-to-none, the stars wouldn’t have aligned to create this gonzo, badass score. I hope audiences have as much fun listening to it as I did making it.”



1. The White Death

2. All Aboard

3. Prince

4. A Modern Plague

5. Royally F#*cked

6. MacGyver

7. Yuichi

8. Toilet Talk

9. Tang Fight

10. Daddy Issues

11. Fructose Overdose

12. The Hornet Stings

13. Bubbles

14. You’re the Diesel

15. Backpack

16. Polythene Pam

17. Tentomushi

18. Kyoto Eki

19. Dochka

20. Mr. Death

21. Anuvva Bruvva

22. Make or Brake

23. Not Carver

24. Fate

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Soundtrack News: Paper Girls Original Series Soundtrack Available Now

Milan Records has released PAPER GIRLS (AMAZON ORIGINAL SERIES SOUNDTRACK), an album of music by Bobby Krlic for Amazon Studios’ new series based on the best-selling graphic novels.

 Available everywhere now, the project is the latest in multi-instrumentalist, composer and producer Bobby Krlic’s extensive resume, which includes both critically-acclaimed, award-winning film, television and gaming scores as well as a successful career releasing music as The Haxan Cloak and working alongside artists like Björk, Father John Misty, Khalid, Troye Sivan and more.

Set in 1988, Paper Girls tells the story of four girls caught in the midst of a war between time travelers and transported to the year 2019 where they set out on a high-stakes journey to return to their present and change the course of their future. Throughout the album’s 17 tracks, Krlic has crafted a dark and atmospheric soundscape that straddles the series’ two timelines, utilizing foreboding synths and tension-building instrumentation to capture the thrilling onscreen story. All eight episodes of Paper Girls are available exclusively on Prime Video in more than 240 countries and territories worldwide.

Of the soundtrack, composer Bobby Krlic had the following to say:

“The world of Paper Girls is something I’ve wanted to explore musically for a long time. It was such a pleasure to have something so rich and nuanced to work to and be inspired by. I wanted to encapsulate the spirit of youth, not only in its boundless energy, but the naivety, trepidation and exploration that comes with the transitory period of childhood. The show and the performances encapsulate that beautifully, and it’s my hope that the music will do the same.”


In the early morning hours after Halloween 1988, four paper girls—Erin, Mac, Tiffany, and KJ—are out on their delivery route when they become caught in the crossfire between warring time-travelers, changing the course of their lives forever. Transported into the future, these girls must figure out a way to get back home to the past, a journey that will bring them face-to-face with the grown-up versions of themselves. While reconciling that their futures are far different than their 12-year-old selves imagined, they are being hunted by a militant faction of time-travelers known as the Old Watch, who have outlawed time travel so that they can stay in power. In order to survive, the girls will need to overcome their differences and learn to trust each other, and themselves. 



1. Something’s Not Right

2. The Girls

3. You Travelled 

4. Capital Offence

5. Watching, Secretly

6. Child Soldiers

7. Young Missy

8. We Were Chosen

9. Batteries Not Included

10. We Do It Better

11. Dead Ringers

12. KJ’s Discovery

13. Up Till Dawn

14. Worth a Shit

15. Time Rip

16. A Great Year For Music

17. Get Your Baseball Bat

Will you be checking out the soundtrack for Paper Girls?

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Soundtrack News: ‘The Good Neighbor’ Soundtrack is Available Now From Scoring Records International

Scoring Records International has released the The Good Neighbor (Original Motion Picture Soundtrack) with music by Enis Rotthoff (Guns AkimboThe Sunlit NightWetlands, Love Sarah) on all major digital platforms. The film is available now in select theaters and digital platforms.

Directed by Stephan Rick, the film unfolds during a nightmarish evening for neighbors David (Luke Kleintank) and Robert (Jonathan Rhys Meyers) when they accidentally hit a woman on her bike with their car and flee the scene. While David is increasingly plagued by feelings of guilt, Robert shows no remorse and becomes overbearing and possessive. When David meets Vanessa (Eloise Smyth), the victim’s sister, he submits to a reckless passion and underlying sense of redemption before realizing Robert will do unspeakable things to protect their secret.

Enis Rotthoff is a German composer who splits time between Los Angeles and Berlin. His passion for scoring films with his orchestral mastery and cutting-edge electronic sounds, has made him a leading voice for cinematic music in Germany and has contributed to his growing international reputation. Through his focus on close collaborations with filmmakers, he is able to build true cinematic concepts providing a unique musical language for each film he scores. 

Rotthoff’s score injects retro electronic sounds with a classical string ensemble. Together with director Stephan Rick, Enis Rotthoff wanted to honor the thriller genre with exciting and lush string compositions while adding contemporary electronic and experimental elements.

The album was recorded with the Budapest Art Orchestra and showcases a 42-piece string ensemble and solo cellist Marianna Pleszkan. In order to add to the warmth of the orchestra Rotthoff opted for analogue synthesizers and partly mashed their performance up with today’s electronics and technology. On the string composition side Rotthoff tried to channel a retro thriller mindset. On the electronic side his approach was more radical and chaotic. He experimented with custom string instruments, electronic guitars and analogue synthesizers running them through effects and distorting them, adding textures, atmospheres, and impactful pulses to the music.


1. The Good Neighbor 3:41

2. Welcome to Riga 2:47

3. Vanishing Evidence 1:46

4. Visions 1:54

5. You Hit Something 3:01

6. Excursion 2:11

7. Vanessa and David 1:45

8. Wrong Caller 1:29

9. Romantic Detour 1:11

10. Midnight Stalker 1:42

11. Final Triangle 3:22

12. Waves Of Worry 2:04

13. Equal Disappointment 1:37

14. Telling Some Truth 1:39

15. Going Fishing 1:19

16. The Bad Neighbor 1:24

17. Do Not Ruin Us 3:03

18. Vanessa´s Journey 1:37

19. A Beautiful Moment 1:49

20. Dark Triad 1:57

21. Cause and Effect 1:29

22. Sleeping Vanessa 1:17

23. Relief And Sorrow 2:12

24. Tin Soldier 1:06

25. The Neighbor Suite 3:42

26. Forever United feat. Ezra de Zeus 2:22

27. Afterparty Cruise 2:38

28. Janine And David 4:02

29. Let Us Be Friends 4:53

30. We Are in This Together 5:08

31. Back To Robert 3:56

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Bringing the Show to Life: Talking with Ian Eisendrath about ‘Come From Away’

I recently had the chance to talk with Ian Eisendrath about his work as music supervisor for Come From Away. Eisendrath worked on both the Broadway show and oversaw the filmed production that is now on AppleTV+. Come From Away, for those not familiar, recounts the real-life story of when hundreds of passengers were stranded in Newfoundland for a period of time in the immediate aftermath of the September 11 terrorist attacks. It’s a powerful story of people coming together in a time of need and I recommend checking the show out if you get the chance.

I hope you enjoy this interview!


Just to start with, can you explain what a music supervisor does?

It’s a challenging thing, because everyone will have their own definition. I’m going to give you mine. A music supervisor is responsible for the entire musical product. We get involved from the early phases of development when the piece is just being imagined and conceived by the writers, directors, studios, and producers. Our job is to support, collaborate, and participate in what the music can bring and fulfill for the creative vision of the storytelling. I think every single film, TV show, every single narrative has its own needs for music.

It’s a bit more detailed than just being the composer for something.

Yes, a music supervisor often interacts with almost every member of the filmmaking or creative team, beginning with the writer. If one of the writers is a songwriter than the music supervisor gets in the trenches with that writer and starts to help them develop the way that they’re telling a story through music. To make all that possible with logistics, making sure everybody has what they need. And there’s a plan and a schedule and an infrastructure for the music team, to create a feedback and even in the case for Come From Away, generating creative material that makes its way into the score. I think every single project has its own DNA.

You’re constantly redefining your role based on what’s needed. You also start interacting with the director and help to make sure that director is supported in their vision. [You also] help with the notes and communication and collaboration between writers and director, and producers and the studio and development of the demo material. In the case of a lot of things I’m working on that involves producing the actual demo session, finding the singers, rehearsing with singers, finding musicians, engaging orchestrators and arrangers, or doing the arrangements to create the material that you then record for the demo. And then editing and producing those demos in collaboration with writers, filmmakers and the director.

I spent a lot of time coaching the actors and helping the actors connect with the material, connecting their performance to the music and the lyrics. [I also] make sure that the director and writers are getting what they want out of the vocal performance and then looking at how that translates to camera, figuring out exactly how we’re going to capture the music. If it’s on camera, is it all played back? And are we lip syncing? If so, how do I coach that and make sure that lip sync feels emotionally correct? If it’s a live recording, which was a lot of what we did in Come From Away, it’s coaching those performances as the shooting is happening, editing all of that is supporting the director throughout the post-process as they are figuring out what their cuts are, which obviously impact what the music is. I often conduct so I’ll conduct the orchestra during the final recording and will co-produce the soundtrack and I like to feel like it’s filling in whatever holes are necessary on the music team to be completely supportive and in partnership in music as a storytelling medium in the film, or if it’s a theatrical production, television show, or album.

You worked on the Broadway version of Come From Away also right?

I was fortunate to be involved from the beginning and worked closely with David [Hein] and Irene [Sankoff]. The writers were also the songwriters, and we worked with the director and Kelly Devine the choreographer to figure out exactly what the score needed to do at every moment. [We took] the gorgeous songs and fleshed them out with vocal arrangements, basically creating this 100 minute musical documentary, which wasn’t like any Broadway show that had been playing. I was just listening to all the development stages, rewrites, readings, and I was able to be their music supervisor, and arranger. We ended up with five different companies telling the story at the same time across the globe. I have a music supervisor for those. And then when I was trying to figure out how to make it a film, I was obviously interested because I love all the similarities and specifics of film and music. I was able to help reduce the gap from what it was on stage to turning it into something that would be the definitive film adaptation of this material trying to capture the essence of the audience.

When and how was it decided that you’re going to make a film version of this show?

The pandemic was what really brought this to the forefront. There was always a discussion of what it would be like as a feature film, I think there’s still discussions [about] that. But during the pandemic, with all the theaters shut down, and people unable to access that live performance experience, and really in need of stories that could comfort but could inspire. The idea was, let’s create a live film musical event that gives people the experience of going to the theater and watching from living rooms.

But we didn’t know if and when theater will be back. We did the scenes, and it was March 8 2020. And many productions were [being] postponed. We were just living in this world of live theatre might never be a thing again. And we heard from so many people that experienced the Broadway show. The story was meant for any way that people could still experience it during a pandemic. And this was the answer to that.

So is the show that you created a single performance? Or were there multiple takes that were compiled together?

It was many takes. We rehearsed for about three weeks. And we rehearsed it so that we could run it from beginning to end. Then our director, all of us together, started talking about how do we capture the film, and I clearly wouldn’t be removing distancing to just shoot the stage show. We broke it into pieces, and many shots, the way we started so that we could never lose the sense of how the show flowed in the theater, that we did the performance from beginning to end with an audience in the theater.

We did that first. We spent all day getting a master of five minutes. So essentially, that was our master. This is what it all looks like if everyone went from beginning to end for continuity. And anytime we wanted to pop out into a wide [shot] of the theatrical experience that was available to us. But then we approached it like shooting a film where we had multiple angles and essentially cut together something that hopefully you’re not aware of all the shots and you’re experiencing it like you’re at the theater to kick around and following whatever actors talking and, lighting in theaters often like the camera. So, a lighting designers job in theater is to cast the focus on where we should be looking. So that was like a great guide for us. Everything got shifted so that we tried to basically follow the audience’s gaze and recreate what an audience might be doing during a live performance. So they have that experience. They’re sitting in the front row, but at home.

So what changes, if any, did you have to make for the production to let it be filmed?

We had, just the way we approached the material. And this was what made it a really interesting thing to supervise the live show; underneath everyone’s dialog, underneath everyone’s singing, we created this ensemble, choral vocal layer that basically the whole ensemble is constantly singing and providing what we feel like film score subtext to what the seven above it, at that you have an enormous singing. So, in the live show, you have multiple audio elements going on simultaneously that you just can’t capture for a film at the same time. Because you have no ability to mix it, to position it, to clean it up into focus.

A lot of the job was figuring out how are we going to shoot this? Who’s going to hear what, what kind of timing are we going to be on, knowing that we have to create something that is flexible in the edit, so it’s never going to run and the time that the show runs. There was a lot of work in terms of, we’re going to send people’s music through earwigs, like you do on a film, set the band, and then we’re going to have the soloist sing out loud, while the group vocal does a pass. Then we’re going to flip that around and the soloist is going to lip sync while the group sings out loud. Then we have all these on-camera musicians, moments that happen live in the room, we needed to capture those. And where do the microphones go, and how are they hearing what they need to hear, how do we get this so that the beginnings and the ends on either end of every shot have enough flexibility to be cut.

And then we got all this raw material that we reassembled in the edit process, and then again on the mixed stage, and hopefully what people are feeling is, oh, wow, it seems like it’s all done live. And in real time, with just one big series of mic setup across the stage, that would be impossible to do and deliver in a satisfying way to the audience. Without really isolating sound or really isolating music. We also wanted to get live vocal performances. There was a lot of attention paid to exactly how they’re sounding and singing for all their live vocals on camera. There are no songs or pre-recorded solo vocals, they’re all live, they’re all real. And it’s the same thing with the ensemble vocals. The band is a mixture of pre-recorded and live. And it was just like a big giant puzzle, to hopefully give off the impression that it was just this natural, easy, organic experience that the audience and the actors and musicians were partaking in.

It sounds like it was a big job. How long did it take to like complete the adaptation from stage for film?

We found out about this, I think it was November of 2020. And then everyone started working non-stop. It just became a full time obsession. And that included working on the adaptation of the scripts, changes that needed to be made for the approach to how we’re going to film it, beginning discussions with the many talented team members involved and how we were going to record and produce their work. [It also involved] working with the film team and working with general management in terms of, how do we get everyone, an entire company and film crew quarantined, living in a hotel COVID tested COVID free so that the cast could be masks off and the audience to be masks on for many hours.

During the time that we didn’t know the rules of COVID we didn’t know how it worked. It was a massive undertaking and many people on every level and facet of production from creative to management, to catering to transportation had to just think way outside the box. And it was this beautiful synthesis of the film crew coming together with the theater crew and figuring out how do we make our worlds intersect, we all need each other to make this happen. Sort of like what the film is about, to the all these people being landed together from all parts of the world, with no warning in a moment of crisis, figuring out how to survive and make the best of a challenging time together. So it feels like we were having our own Come From Away experience while we were filming, and trying to tell the story.

Yeah, I did have a more general music question too. I noticed that it said the traditional Newfoundland songs are included. How was it decided which ones to use?

So David Hein and Irene Sankoff, the writers and I, immersed ourselves in the music. We have playlists that last four to five days that we just repeated and lost ourselves in and got to know all of that really well then approached the arranging and the musical sound of the show and all the original music, which is rooted in the music of Newfoundland, which I think of as, traditional Celtic, modern rock band. So, we have whistles, Irish flute types, all of that. A Celtic fiddle. We have guitar instruments, the octave, the mandolin, all those that are traditional and at home in Newfoundland, and the bodhran, which is sort of an Irish frame drum. And that gets mixed together with electric guitar and contemporary drums, electric bass, piano, keyboard sounds, acoustic guitars, and it’s just a beautiful mashup of tradition, and contemporary voice.

And as we started developing the music that would be playing under the show, while dialogue was going on, there’s this moment where there are these traditional players that are all fighting simultaneously, to honor and represent all the different states. We found some traditional songs, and it was really just by listening to the music of Newfoundland and falling in love with that, figuring out what is the tone of this moment, oh, this is like a big party.

There was another moment where there’s something much more involved and much more melancholy. And we chose another tune that was traditional to Newfoundland to play there. Most of what we did is create material based on the song based on the melodies and the harmonies that David [Hein] and I wrote, and interpreted those as Newfoundlanders would. They felt like a traditional or contemporary music of Newfoundland, playing underneath the dialogue and rooting us to the characters and the location, but then they’re gonna for the score totally be used. And suddenly, I have a more southern Texas almost country vibe to represent the pilot from Texas. There are moment with characters who are from Africa and so we’re trying to pull in some of those instruments and those sounds to represent those characters.


I’d like to thank Ian Eisendrath for taking the time to talk with me about his work on adapting Come From Away for the small screen. I hope you enjoyed this interview and have a great rest of the day!

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Soundtrack News: Persuasion (Soundtrack From the Netflix Film) is Available Now

Netflix is excited to announce the release of Persuasion (Soundtrack From the Netflix Film) by composer Stuart Earl. Coinciding with the release of the film, the album is available now, on all major digital streaming platforms and includes the single “Quietly Yours” by Birdy. Stuart Earl is an award-winning, Ivor Novello nominated composer. He’s based in London and works in film, television drama and theatre. 

Living with her snobby family on the brink of bankruptcy, Anne Elliot (Dakota Johnson) is an unconforming woman with modern sensibilities. When Fredrick Wentworth (Cosmo Jarvis), the dashing one she once sent away, crashes back into her life, Anne must choose between putting the past behind her or listening to her heart when it comes to second chances.

Regarding the score for Persuasion, composer Stuart Earl had the following to say:

“Composing the score for Persuasion and the creative process with [director] Carrie Cracknell was a complete joy. I was brought on relatively early in the process, which was great, as it allowed me to work on ideas whilst they were still shooting, including writing the music that they dance to in one of the scenes. But what was really creatively enjoyable, was that some of those very early sketches written to script, went straight into the edit and stayed there.”

He continues, “One of the real challenges with the score for Persuasion was getting the balance of tone between the lighter, comedic material alongside the more emotional journey that spans the film. This was something that definitely evolved over time during the editing process and swung between the extremes until we found a mix that seemed to sit well together and hold and deliver both of these tonal ideas together.”


1. Quietly Yours+ 3:54

2. Clifftop Prelude 1:27

3. Journey to Uppercross 1:35

4. Lanterns 0:59

5. Into The Sea 1:39

6. The Letter 2:15

+Original Song by Birdy

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Soundtrack News: ‘The Sea Beast’ Original Soundtrack is Available Now

Milan Records has released The Sea Beast (SOUNDTRACK FROM THE NETFLIX FILM) with music by three-time GRAMMY Award-winning composer Mark Mancina. Available everywhere now, the album features music written by Mancina for Netflix’s animated adventure film. The project reunites Mancina with Academy Award-winning filmmaker and The Sea Beast director Chris Williams, the duo having previously worked together on 2016’s Moana. For their latest collaboration, Mancina has crafted an expansive, multilayered soundscape that adds depth and nuance to the seafaring epic while capturing its adventurous spirit.

In an era when terrifying beasts roamed the seas, monster hunters were celebrated heroes – and none were more beloved than the great Jacob Holland. But when young Maisie Brumble stows away on his fabled ship, he’s saddled with an unexpected ally. Together they embark on an epic journey into uncharted waters and make history. From Academy Award winning filmmaker Chris Williams (Moana, Big Hero Six, Bolt), The Sea Beast takes us to where the map ends, and the true adventure begins.

Of the soundtrack, composer Mark Mancina had the following to say:

“How grateful I am for the opportunity to have composed The Sea Beast’s original score. A successful score, in my opinion, is one that deeply enhances the film, yet can stand on its own. I think our team accomplished that with this score. It was also a great pleasure to collaborate once again with the brilliant Chris Williams.” 

Of his collaboration with Mark Mancina, director Chris Williams adds:

“When I started developing The Sea Beast, I knew I wanted to tell an original story that evoked the classic adventure films I grew up with. And I knew, without a doubt, that Mark would be perfect for it. Mark brought his talents to bear, and created a score that acknowledged its influences without feeling trapped in the past. It’s an invigorating blend of the timeless and the new, and it’s everything I could have hoped for.”

1. Prelude to the Sea – Mark Mancina
2. The Sea Beast – Mark Mancina
3. King and Queen – Mark Mancina
4. Someday – Mark Mancina
5. Jacob Evolving – Mark Mancina
6. Captain Crow – Nell Benjamin & Laurence O’Keefe
7. The Fight of the Giant Crab – Mark Mancina
8. The Hunters Code – Mark Mancina
9. One More Try – Mark Mancina
10. Jacob into the Sea – Mark Mancina
11. Crow’s Betrayal – Mark Mancina
12. Little Blue – Mark Mancina
13. Red – Mark Mancina
14. Gwen Batterbie – Mark Mancina
15. Wear It Down – Mark Mancina
16. Blue and Maisie – Mark Mancina
17. Maisie’s Speech – Mark Mancina
18. Wherever the Wind Takes Us – Mark Mancina

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