Couverture de Settling the Score

Settling the Score

Settling the Score

De : Jon & Andy
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 Join Jon and Andy as they explore the world of film music, one score at a time. Each episode is an in-depth discussion of a classic film score: what makes it tick, how it serves the movie, and whether it's, you know, any good. It's a freewheeling, opinionated conversation with an analytical bent, richly illustrated with musical examples. No expertise required. The series began by tackling “100 Years of Film Scores," the AFI's list of (purportedly) the 25 greatest scores in American cinema history, and now draws from a broad range of distinguished scores old and new. Jonathan Dinerstein writes music for film and television in Hollywood. Andy is a pianist and music director. They've been chatting together about movie music for 20 years. Support the show at Patreon.com/SettlingtheScore. Write us at scoresettlers@gmail.com.© 2024 Settling the Score Art Divertissement et arts du spectacle Musique
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    Épisodes
    • #71 – The Grand Budapest Hotel

      #71 – The Grand Budapest Hotel
      Oct 23 2025

      Join Jon and Andy as they check into Alexandre Desplat's score for the 2014 Wes Anderson creation The Grand Budapest Hotel. How does Desplat's music align with Anderson's idiosyncratic perspective? What instruments give it its very particular zing? And, how might Wes Anderson edit this podcast differently?
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      1 h et 34 min
    • #70 – Elevator to the Gallows

      #70 – Elevator to the Gallows
      Jul 24 2025

      Listen as Jon and Andy take a long, meandering stroll through and around Miles Davis’ score for the 1958 crime drama Elevator to the Gallows. How did this French film wind up looming large in the history of American jazz? What special mood does Davis find, and what special note helps him describe it? And, what would you give to hear Miles imitate Marlon Brando?
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      1 h et 34 min
    • #69 – The Fugitive

      #69 – The Fugitive
      May 6 2025

      Follow along as Jon and Andy do a hard-target search of James Newton Howard’s score to the 1993 man-on-the-run thriller The Fugitive. How do this film and its music match this cultural moment? What technical rule does Howard break, and why doesn’t it matter? And, wait a minute, does this plot actually make any sense?
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      1 h et 41 min
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