In this special Theme Song Throwback, longtime WWE composer Jim Johnston breaks down his process for writing entrance themes for some of the most iconic characters in sports entertainment. Jim reveals how John Williams' themes for Darth Vader and Luke Skywalker inspired his approach to good guys and bad guys, his experience writing songs with rock bands like Motorhead and P.O.D. and why he only attended one Wrestlemania in his 32 year run with the business. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Kenny and Robert begin the show with a special “Theme Song Throwback” segment joined by longtime WWE composer Jim Johnston. The maestro of the squared circle reveals his secrets for writing the most iconic entrance themes of professional wrestling’s top superstars including The Undertaker, Stone Cold Steve Austin and Goldust. Then, Oscar and Grammy-winning composer Ludwig Goransson joins the show sharing what surprised him about Christopher Nolan while recording the score for his upcoming blockbuster film Tenet, his mesmerizing first trip to Jon Favreau’s office when meeting about writing his now Emmy-nominated score for The Mandalorian, how a song on Community led to a collaboration with Childish Gambino that won the 2019 grammy for record of the year and how he heard his music played by an orchestra for the first time at age seventeen. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Kenny and Robert begin the show discussing the 2020 Emmy nominations, the updated theatrical rollout plan for Christopher Nolan’s Tenet, composer Alan Menken achieving EGOT status with a Daytime Emmy win and checking Score: The Mailbox with a question about why all film scores aren’t released. Then, Oscar and Golden Globe-winning composer Alexandre Desplat joins the show to discuss his new film with Wes Anderson, The French Dispatch, his transition from French cinema to Hollywood films and how the scoring process is different, writing songs for Guillermo Del Toro’s upcoming live-action Pinocchio, how he lost his favorite pair of glasses when first meeting John Williams and the advice Ennio Morricone gave him that he constantly thinks about. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show discussing the passing of legendary Oscar-winning composer Ennio Morricone, maestro of 400+ films and credited with creating the sound of "Spaghetti Westerns" for films like The Good, the Bad and the Ugly and A Fistful of Dollars. Then, the guys check Score: The Mailbox with a question about the difference between studio musicians and concert musicians. Later, Oscar-nominated composer Patrick Doyle joins the show from Shepperton Studios in England, his home studio for 30 years. Patrick shares stories of many of his great scores including following in the footsteps of John Williams for Harry Potter and the Goblet of Fire, scoring and playing "Kevin" in Brave, diving into the Marvel Cinematic Universe with Thor and his account of the famous "Got a Cookie For Ya" cue for Rise of the Planet of the Apes. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show discussing what they watched over the weekend including Doctor Sleep, score by The Newton Brothers and Ford v Ferrari, score by Marco Beltrami and Buck Sanders Then, Emmy, Grammy and Tony-winning music director Alex Lacamoire stops by to help count down the release of Hamilton coming to Disney+ on July 3. Alex shares stories of working on the show, his reaction to the script when Lin-Manuel Miranda first presented it and his future projects including In The Heights. Later, Oscar-nominated and 6x Grammy-winning composer Terence Blanchard joins the show revealing how he began working with iconic director Spike Lee, how their relationship has evolved after 30 years of collaborating, the importance of growing up in a musical city like New Orleans and how he almost got kicked out of a Knicks game while sitting courtside with Spike. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show discussing the dates changes to the Academy Awards and the Golden Globes in 2021 and what they watched recently, including HBO's new reboot of Perry Mason scored by Oscar-nominated composer Terence Blanchard. Then, Kenny asks Robert to share how his best buddy Bruce Willis helped turn Hudson Hawk into a reality in the latest installment of "Score Stories." Later, Theodore Shapiro joins the show to share his many tales of scoring some of the greatest comedies of the last two decades including Old School, Dodgeball, I Love You, Man, Tropic Thunder. Teddy also details his grueling, yet rewarding experience working with actor/director Ben Stiller, why he's always battling being pigeon-holed as the comedy composer and his process of trying to get editors original music before temp score is put into a film. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show joined by Blockbuster podcast creator Matt Schrader, discussing the brand new season profiling director James Cameron. The team discusses the major changes the to the theatrical release schedule including blockbuster films Tenet, WW84, No Time To Die and Top Gun: Maverick and what all of this could mean for the future of movie theaters. Then, Kenny checks Score: The Mailbox with a question for Robert about his favorite memory of working with the late maestro James Horner. Later, Emmy and Golden Globe-nominated composer Daniel Pemberton joins from London to explain how his early love for electronic music found him scoring a TV series while still going to school. Pemberton shares his stories of working on his first big film with director Ridley Scott, a chance run in with director Danny Boyle while riding his bike through London, experimenting on his scores for films like Spider-man: Into the Spider-Verse, Steve Jobs and Yesterday, and why he believes there is no such thing as bad music. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show talking about shows they’ve been watching including Tales From the Loop (with music by Philip Glass) and the second season of Amazon's Homecoming. Then, Homecoming and composer Emile Mosseri stops by to share how he came on board with the hit series, the challenges of stepping in on a show that was previously scored with licensed scores from composers including legendary maestro Bernard Herrmann and the difference of scoring a TV series versus his previous film The Last Black Man in San Francisco. Later, 2x Oscar-winning composer A.R. Rahman joins the show all the way from Chennai, India to share his story of teaching himself how to use his late father’s musical equipment, making the decision to work at a young age to help support his family in lieu of school, passing on a scholarship to Berklee to score his first film, connecting with director Danny Boyle for the smash hits Slumdog Millionaire and 127 Hours and starting his own music school in India. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show discussing the conclusion of the ESPN docuseries The Last Dance profiling Michael Jordan and the 90s Chicago Bulls, and the terrific use of both source music and the dramatic score by composer Thomas Caffey. Then, Mrs. America composer Kris Bowers joins the show to share how he and his team adapted to the coronavirus stay at home orders that went into effect in the middle of scoring the new FX series. Before the break, the team checks Score: The Mailbox Later, Emmy-nominated composer Siddhartha Khosla joins the show and discusses his early years as a touring frontman for his band Goldspot, how his college roommate Dan Fogelman convinced him to change his musical path and eventually led to scoring NBC's smash series This is Us and why he could be the first Chief Musical Officer of the USA. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media

Robert and Kenny begin the show discussing the HBO film Bad Education, which includes the latest score by Michael Abels. Over the weekend, Kenny also re-watched Avatar, a film Robert worked on with James Cameron and James Horner. Robert reveals that Beyoncé was the original choice for the end credits song, but she was too expensive. Then, Emmy and Grammy-winning composer David Arnold (James Bond franchise, Independence Day, Stargate, Good Omens, Sherlock) joins the show to talk about the benefits of having his studio inside AIR Studios in London, why a record store clerk might be the reason he got his first James Bond film, how he wrote the theme from Independence Day in a dream and the pressure of being music director for the 2012 Summer Olympics in London. This episode is presented by Spitfire Audio. Follow us on Twitter @ScoreThePodcast, or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com. Hosts: Robert Kraft & Kenny Holmes Executive Producer: Matt Schrader Coordinator: Carol Kuswanto © 2020 Epicleff Media