Sync Music Matters Podcast

In the latest episode of Sync Music Matters, I speak with music supervisor Paulina Marquez about her work on Season 2 of The Night Manager for Amazon Prime Video, starring Tom Hiddleston and Olivia Colman.

With more than 20 years of experience across film and television, Marquez explains how music supervision is less about deep musical knowledge and more about emotion, storytelling, and narrative impact.

A key creative decision for the new season was building much of the show’s musical identity around Colombian artists, helping give the series a distinctive sonic world. We also discuss the subtle power of diegetic music in shaping atmosphere, and why supervisors should avoid temping tracks they won’t be able to clear later.

Marquez encourages bold choices when it comes to sync, arguing that unexpected music can often create the most memorable moments on screen.

Originally from Mexico and now based in Barcelona, Marquez began her career at MCO Audio Design Studios and now works across international productions for platforms including Netflix, Amazon and Apple. Her credits include Elite, The Burning Body, and Hurricane Season, and she maintains a long-standing collaboration with director Manolo Caro.

We also talk about her early musical influences from Led Zeppelin to Jarvis Cocker.  Plus we end up debating a surprisingly divisive topic: which way toilet paper should hang.

🎧 Listen to the full episode of Sync Music Matters to hear Paulina’s insights on music supervision, sync licensing, and building a musical identity for television.

Paulinas Website: https://www.paulinasmusic.com/

Ruth Barrett – Scoring The Girlfriend. In this episode of Sync Music Matters, I interview Emmy Award nominated composer Ruth Barrett to explore the infinite possibilities of musical collaboration and the art of shaping sound for story. We go under the skin of her incredible score for Amazon’s The Girlfriend and The Terminal List: Dark Wolf

Ruth shares how working with other musicians and writers opens unexpected creative doors.  From discovering unique textures to pushing the boundaries of sound design. We dive into the power of experimentation, and how bold sonic choices can elevate emotion on screen.

A standout moment in our conversation is Ruth’s approach to character themes — distilling an entire personality or journey down to a single word, then building a musical language around it.

Ruth’s music spans feature films and high-end television, blending lyrical themes and classical influences with modern textures. Her credits include The Old Guard 2, City of Tiny Lights, Harry Brown, and series such as Amazon’s The Girlfriend and The Terminal List: Dark Wolf.

This episode is a deep dive into collaboration, creativity, and the evolving language of music for screen.

Ruth Barrett on Instagram

In this episode of Sync Music Matters I’m joined by editor and producer Chad Galster who is best known for his long-standing collaboration with filmmaker Taylor Sheridan. Chad has worked on every season of Yellowstone along with its prequels 1883 and 1923, and the 2023 series Lioness, starring Zoë Saldaña.

Chad shares his unconventional journey into the entertainment industry including the bold decision to turn his back on a career in medicine and start over in film and television. We talk about his early days editing reality TV and the audition that led him to Yellowstone, and how that opportunity became career-defining.

A central theme of the conversation is creative freedom and the trust required between director, editor, and composer to facilitate the taking of creative risks. Chad offers insight into how that trust enables experimentation, irreverence and originality in storytelling, especially in an industry often hesitant to break from established formulas.

We also dive into his collaborations with composers Brian Tyler (Yellowstone) and Andrew Lockington (Landman and Lioness), and explore how the edit and the music shapes tone, pacing and emotional impact. The episode wraps with a look at the Yellowstone soundtrack and its role in elevating artists like Ryan Bingham, helping define the show’s unmistakable sonic identity.

This episode is a must-listen for anyone interested in the intersection of editing, music and fearless creative decision-making in modern television.

Chad Galster on Instagram

In this episode of Sync Music Matters, I’m joined by composer and music producer Simon Franglen for a fascinating conversation spanning pop production and film score.

Simon reflects on his early career writing jingles and programming the Synclavier for Trevor Horn, an experience that placed him at the intersection of music and emerging technology. That foundation led to high-level session gigs working on music for artists including Michael Jackson, Whitney Houston, and Celine Dion – culminating in his role producing “My Heart Will Go On” for Titanic.

His transition into film scoring began with Dances With Wolves, working alongside John Barry and then Alan Sylvestri and James Horner. Experience that shaped his approach to melody and storytelling. We discuss how those lessons continue to inform his work today.

The conversation then turns to Simon’s latest project, Avatar: Fire and Ash, where he recorded new themes and created original musical instruments to help define the film’s sonic world. With a piano in the room, Simon plays excerpts from the score, offering rare insight into his creative process.

Simon talks about the film’s songs including “Dream as One” by Miley Cyrus and “The Future and The Past” sung by Zoë Saldaña and how they support the narrative.

We also explore the decline of strong thematic composition in modern cinema and why Hollywood has shifted away from it.

Finally, Simon offers his perspective on AI and the music industry, addressing both the risks and the enduring importance of human creativity.

Listen to the Avatar: Fire and Ash Score on Spotify

In the latest episode of Sync Music Matters, I sit down with composer Nathan Klein to dive deep into his gripping score for the Sky series Atomic – a project defined by chaos, grit, and raw emotional power. From experimenting with industrial synths to navigating the psychological pressures of pitching, this conversation is a fascinating insight for anyone interested in film scoring and TV music composition.

Scoring Atomic: Crafting Chaos Through Sound

Nathan shares the creative journey behind developing the sonic identity of Atomic. The series demanded a score that felt chaotic and like it was part of a naughties buddy movie. To capture this, he leaned into Gritty industrial synths and Aggressive, textural string performances

The Trap of Second-Guessing: Why Composers Must Trust Their Voice

One of the most valuable themes in this episode is the danger of second-guessing what directors want during the pitching process. Nathan talks candidly about trying to predict expectations instead of following his instincts

He highlights that directors often respond most strongly to ideas that feel authentic and bold.

Creativity Under Pressure: Overcoming Mental Blocks

We also dig into how pressure can stifle creativity—something every composer, producer, and artist knows too well. Nathan shares how deadlines, self-doubt, and the fast pace of TV work can shrink your creative space if you let them.

From Atomic to Ludwig: Scoring Across Genres

The conversation expands beyond Atomic into Nathan’s work on BBC series Ludwig and Film Club, directed by, written by, and starring Amy Lou Wood. These projects required a totally different musical touch offering an intimate contrast to the intensity of Atomic.

Why This Episode Matters for Composers & Music Creators

Whether you’re an emerging composer, a seasoned scorer, or someone fascinated by the craft behind film and TV music, this episode offers:

Practical insights into the composing and pitching process

Honest discussion about the psychological side of creative work

A behind-the-scenes look at two major projects from one of the industry’s rising composers

Nathan Klein Website

Nathan Klein Instagram