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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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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
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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.
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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
