Segun Akinola on scoring Doctor Who, composing music during lockdown, and more

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Series 11 was all about having its own sound. It’s a completely different sound and a very different approach. It’s moving around musically, but also there is a series sound to it. With Series 12, it was not about changing the overall direction, but making sure that just as the story was developing and the characters were developing, the music was also developing. You could look back on Series 11 and hear something and think “That’s Series 11, not Series 12”, but [the new music] doesn’t sound out of place or like the direction is completely changed.

Here’s my interview with Segun Akinola, Doctor Who‘s current MVP – even as I’ve been frustrated with other aspects of the show, I’m never not impressed by his music. Some of the most memorable moments of Series 12 are down to his score, to my mind: his James Bond-esque motif does a lot of heavy lifting for Spyfall, the score for Nikola Tesla’s Night of Terror is brilliant from start to finish, and I did really love that arrangement of the theme tune in The Timeless Children

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Composer Jeff Russo on scoring Star Trek: Picard, Noah Hawley’s Star Trek movie, and more

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From an instrumental point of view, I wanted to connect it to our previous stories. So, the use of the flute at the beginning and in the end is inspired by Jean-Luc Picard playing the Ressikan flute in The Inner Light. That’s really the only true connection to a musical instrument in the show that I can remember in The Next Generation – other than Riker playing a trombone! It was like, “Let’s not use a trombone. We don’t need to use a trombone.” For one thing, it’s not Star Trek: Riker, and it’s not Riker’s story, so it didn’t strike me as something that would be meaningful. The flute seemed really meaningful to how Picard’s life had progressed.

A recent conversation with Jeff Russo, who was both very nice and very enthusiastic about Star Trek. Lots of interesting, thoughtful comments about how you approach the score for something like Picard – and, actually, how that’s subtly but significantly different from how you approach the score for Discovery. (Which, thinking about it, would probably have been a better thing to reference in the title there – my typically suppressed clickbait instincts got the better of me this time.)

Incidentally, this very nice picture of Jeff is one I borrowed from his website, and in turn which he took from Scoring Sessions, a website I’ve only just now come across but is clearly a phenomenal resource. I think the original photo credit, in this case, goes to Dan Goldwasser, the Editor-in-Chief of Scoring Sessions.

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