Captain America: Brave New World | Sound & Screen Film 2025 - video Dailymotion

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00:00Transcription by CastingWords

00:30CastingWords

01:00CastingWords

01:30American fiction

01:31Thank you

01:31But you were working with Marvel before American fiction

01:36Tell us about

01:37You know getting that first meeting

01:40Was there something that hooked them

01:42Do you want to hear the craziest story

01:44I don't even think I've ever said it out loud

01:45You know why I got American fiction

01:47Tell us

01:49Because Nia DaCosta, who was the director of the Marvels, and also head of this year, recommended me.

01:55So the MCU finds its little sticky fingers into absolutely everything.

02:03But no, I had worked for Marvel for a bit.

02:05I worked on a TV show called What If, which is, thank you very much,

02:10it's basically Marvel College, because you have to know everything about the MCU

02:16and about all the music in the MCU in order to do it and turn it upside down.

02:21And then I was hired for the Marvels, and then I did Ms. Marvel kind of simultaneously with the Marvels.

02:28Thank you. That's a great show, too. If you haven't seen it, you should watch it.

02:31And then this, and we did Zombies, Marvel Zombies, which, like, people really dig that show.

02:38But I work a lot with my wife, Nora Kohl-Rosenbaum, and she made me conduct tonight, but there you go.

02:45So, yeah, we spent a lot of time in the MCU, and it's a beautiful place. I love it.

02:51Your inspirations for this, a political thriller.

02:54Yeah. I mean, mid-century modernism, really.

02:57Going back to the, you know, to the political thrillers of kind of the middle part of the 20th century,

03:03and really trying to bring that back and make it modern and contemporary and work with a ton of synths and a ton of different things.

03:10But this cue is sort of this combination of a fugue and second-line percussion.

03:17So, I don't know. It's some wacky world, but it's a serious kind of political thriller.

03:22You used a drum line from New Orleans.

03:24We did. We did.

03:25I think every score needs a drum line from New Orleans.

03:27Believe me, it does.

03:29But that whole, you know, when you hear the, all the beautiful snare work that you heard in the background,

03:34but not the background, but in the foreground with the percussion,

03:38that was all, you know, worked out in second line because, of course, Sam is from New Orleans.

03:45So, I wanted that to be in the DNA of the music, even if it's not explicitly obvious.

03:53A heavy-duty action film.

03:55Yeah.

03:55You wrote various themes for the character.

03:59Yes.

03:59Tell us about that.

04:00Well, there's this, which we call the conspiracy theme.

04:03There's the Brave New World theme, which is, you know, a Sam's theme.

04:08And, you know, we could stay here for 20 years talking about Alan Silvestri's iconic theme.

04:14And I challenge you all to find my little quote to it.

04:20It's there.

04:20And then, of course, Henry Jackman did the other, the second iteration of that.

04:26Yeah.

04:27But there's that.

04:28There's the Sterns theme, and there's the Ross theme.

04:31There's a little bit of that in this.

04:33The Da-dee-oo-da is the Ross theme.

04:37And that, of course, has to become the Red Hulk.

04:40And, I mean, you get one president, and then it winds up being another.

04:44I don't know if we've seen that anywhere.

04:47It's just such fiction, right?

04:50It's crazy.

04:52Hidden.

04:52Red Hulk.

04:53Hidden agendas, conspiracies, you know, people enriching themselves.

04:57Wait, I'm getting off track.

05:00Okay, sorry about that.

05:01Coming up as a composer, who are your mentors?

05:07I mean, Milton Babbitt.

05:10Does anybody know who Milton Babbitt is in the sonnet?

05:12So I studied with Milton Babbitt at Juilliard, and he was a very fabulous and very esoteric

05:23man who taught me everything you ever want to know about 12-tone music.

05:27So I worked with him.

05:28But when, you know, there were people here, too.

05:30I mean, Shirley Walker was one of the great ones.

05:33And Shirley took me under her wing when I was a fellow at Sundance.

05:39And then kept up, you know, with me.

05:42And she was someone that I would always go to when things got tough.

05:47And, you know, so I would say mostly those two.

05:50And, you know, I have to tell you, in the film scoring world, I carved my own path.

05:57For better or worse, that's the way it's been for me.

06:00Now you have an opera coming out.

06:02I do, I do.

06:03I wrote an opera appropriately titled Balls.

06:07Balls.

06:09And it's about the iconic 1973 match between the Billie Jean King and Bobby Ricks.

06:15And that's being done on November 20th.

06:19And it's about how one woman can make a difference for the world by just doing what she does best.

06:25So it's something that I relate to.

06:30Laura Cartman.

06:32What a glorious interview.

06:34Thank you very much.

Captain America: Brave New World | Sound & Screen Film 2025

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