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In this episode of The Sync Music Matters Podcast I’m talking to Music Supervisor and Consultant Isaac Allaway (previously) Emma Middleton.
Isaac is a film trailer specialist and was voted “Music Supervisor of the Year” in 2020 at AIM Sync. He was also a winner and finalist at the Music & Sound Awards for his work on trailers for The Crown Seasons 3 & 4.
I often talk about the important of irreverence in the creative field and Isaac loves to try new and unexpected musical ideas. I love the fact that he has a ‘curveballs’ folder.
Isaac and I talk about how he went from studying English literature to setting up his own Music Supervision agency.
We go under the skin on his recent projects working on The Witcher and The Crown where he provides insights into the world of both sourcing and writing music for movie trailers.
We discuss his love affair with the music of John Powell… and how he left behind the Javelin in favour of a career in music.
So grab yourself a brew, sit back and enjoy this fascinating and insightful interview with Isaac Allaway
The trailers, music and companies that we discuss are all linked in the show notes below
Isaac Allaway’s website and work
The Witcher Season 2 – Trailer (Rubato Music)
The Crown Season 3 Trailer (Rubato Music)
Companies mentioned by Isaac Allaway
Music that has inspired Isaac Allaway
John Powell – How To Train Your Dragon OST
John Powell – Should I Know You (How To Train Your Dragon 2 OST)
In Episode 4 of The Sync Music Matters Podcast I’m talking to Universal Production Music’s senior producer Andrew Stannard
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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
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Interview with Mac Quayle on Scoring Monster: The Ed Gein Story
I recently sat down to interview Mac Quayle the Emmy-winning composer, known for his iconic work on Mr. Robot and most recently Monster: The Ed Gein Story. Our conversation traced his journey from club DJ to composer of some of television’s most unsettling soundscapes.
From Dance Floors to Film Scores
Before Hollywood, Mac was shaping late-night dance floors as a DJ and remixer in New York. But with the advent of streaming and the death of music sales Mac decided to change lanes.
That pivot led him to collaborate with legendary composer Cliff Martinez, and Mac moved from commercial music to cinematic storytelling
Scoring Monster
With Monster, Mac wasn’t interested in jump scares or obvious horror tropes. Instead, he built a score rooted in psychological dread – leaning into quiet tension and emotional unease – the kind that lingers long after the scene ends. The result is a sonic world that feels intimate, unsettling and hauntingly human.
We dived deep into his creative toolkit of modular synths, processed textures, and unconventional string techniques – exploring the tactile noises that make strings feel alive, anxious and close to the skin.
Mac Quayle Website
Mac Quayle Instagram
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Oli Julian – Kleptomaniacal Music – Scoring The Twits for Netflix
In this episode of Sync Music Matters, I chat with composer Oli Julian, the man behind the gloriously mischievous scoring of The Twits for Netflix
Known for his work on Sex Education and Catastrophe, Oli brings his signature blend of fun, rhythm and emotional punch to Roald Dahl’s anarchic world with a soundtrack he describes as “kleptomaniacal”
The new film, featuring the voices of Margo Martindale and Johnny Vegas as the grotesquely dysfunctional Mr and Mrs Twit, is anything but conventional and neither is its score. Oli takes us behind the scenes of a sonic palette that includes Bulgarian choirs and what he calls “flatulent” baltic brass, giving the film an irreverent and delightfully chaotic tone.
He tells the story of how, during one of his early meetings, he found himself playing the musical saw over Zoom – a moment he jokes might have sealed the deal.
But beneath the playfulness, there’s a deep sense of craft and authenticity to Oli’s work. We talk about how his first dalliance with making music came in the from of a humble four-track recording of Wonderwall by Oasis.
As a drummer, Oli admits he’s “rhythmically led,” and it shows — the propulsive energy of his cues often drives the emotional core of a scene. For him, groove and feel aren’t just musical ideas, they’re emotional anchors.
During our chat, a familiar theme emerges – one shared by so many composers: the importance of authenticity and being confident in what you create.
The Twits might be a story about the world’s most horrible couple, but under Oli Julian’s mischievous baton, it’s also a celebration of the beautifully bizarre – proof that even the strangest sounds can make perfect sense when they come from an honest place.
Oli Julian Website
Oli Julian Instagram
(00:00:00) Introduction
(00:03:00) Interview with Oli Julian – What was your path into music?
(00:13:35) Creating a Unique Sound?
(00:15:20) Under The Skin: Scoring The Twits
(00:26:38) Working with David Byrne
(00:28:30) Winning an RTS award (Drama vs Comedy)
(00:34:05) Renegade Nell
(00:40:46) Getting a Taste
(00:49:41) Quickfire Questions
