Composer Siddhartha Khosla talks Marvel’s Runaways, the need to maintain an authentic sound, and more

Siddhartha Khosla marvel runaways goldspot this is us me myself and I interview composer musician score

When I approach my scores, I approach them as if I’m making an album for the show and there’s a lot of thought and care and love that gets put into this and as any composer does. I just treat it all as an album, I like creating my own sounds. I’m not heavily reliant on MIDI, I’m more a purest in the sense that I like the use the actual original instruments, which is what I would have done on my albums.

So that’s the one common thread and sometimes some of my scores play like mini instrumental songs too and I think that’s where my songwriter background comes in. And sometimes they play like more traditional scores. Phonetically, some of it is very different to my albums. The approach is the same, it’s the idea of making a piece of art.

One of several recent interviews I conducted with a composer – Siddhartha Khosla is working on Marvel’s Runaways, Me, Myself and I, and This is Us.

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Composer Dominic Lewis on DuckTales, The Man in the High Castle, and more

That’s the way the music is gonna go – just an extra notch to really try and think about what the audience need to be feeling emotionally. And that’s not all the time, of course, there’s gonna be times where you’re gonna get swept up by the action, but we really wanna think about those moments where we wanna reflect and, kind of, in a feature way, where it’s not really obvious, not to do the first thing that you think of and really think about what people and what the audience are gonna be thinking.

I really enjoyed this interview – Dominic was great to talk to, a really interesting guy.

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Composer Nathan Barr on his score for Flatliners, his musical voice, and more

I realise, for me, sort of sitting down to the same 88 keys at my electronic keyboard and composing wasn’t going to be inspiring enough, no matter what sound I was pulling up on the sampler or synthesiser. So, for me, very much a part of the composing process is setting myself up to be able to make mistakes.

So if I buy an instrument and I don’t really know how to play it, I will find myself approaching a melody mechanically, in the way I put down my fingers, that may yield something very different as I’m not familiar with the instrument. I find that a lot of us get boxed into motor mechanics – of how we play the piano, or the guitar – and an unfamiliar instrument really breaks those motor impulses that we have, that always bring me back to the same place over and over again.

Here’s my interview with Nathan Barr, composer of Flatliners. Nathan has a massive collection of all sorts of different instruments, and a pretty interesting approach approach to music. One of the things I always appreciate about doing these interviews is listening to creative people talk about their process, and noting the differences between them. It’s quite engaging hearing them speak about their art, and hopefully you’ll enjoy reading about it too.

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BBC Three’s Overshadowed is the perfect take on anorexia in the age of social media

Overshadowed bbc three eva o'connor hildegard ryan michelle fox kay mellor rollemprodco hd high res anorexia

There’s something particularly effective about this central conceit, positioning the series almost as a monologue; the entire drama is built around and grows from Imogene, placing her right at the centre of the story. In doing so, Overshadowed grants its protagonist an essential level of interiority, immediately allowing the audience an intimate understanding of the character. 

More than that, though, there’s a level of respect too; at no point is Imogene othered or condemned, as can happen when friends or relatives are used as point of view character. It all adds up to a sensitive and compassionate account of anorexia, one that’s well worth watching.

Surprised I’d not posted this already, since it’s from early October. Really enjoyed this programme, and I’m quite pleased with the article too.

What was particularly nice about this article, actually, was that the writers and actors involved (the very cool Hildegard Ryan, Eva O’Connor and Michelle Fox) saw it and were quite nice about it. That’s one of my favourite things about writing these articles, actually – letting the people involved know that I appreciated their work. Always nice to spread some positivity.

(What is slightly less cool is that I tried to be a bit symbolic at the end, which sorta works, but is terribly awkward to imagine those involved actually reading it, particular Eva O’Connor, given what I said. Not in a bad way, just a bit… hmm.)

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Star Trek: Discovery Season 1 Episode 3 Review – Context is for Kings

star trek discovery context is for kings review michael burnham sonequa martin green jason isaacs captain lorca shenzhou

It’s not a unique observation, of course, but in a manner of speaking Context is for Kings is actually the first episode of Star Trek: Discovery.

The prior two episodes, The Vulcan Hello and Battle at the Binary Stars, form a prologue of sorts – the series finale of Star Trek: Shenzhou, if you like. Here, we’re picking up again with what’s almost a new pilot on its own terms, introducing us to the rest of our regular cast – Captain Gabriel Lorca, Lieutenant Paul Stamets, and so on.

Here’s my review of Star Trek: Discovery episode three, Context is for Kings.

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