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Right on Cue

Right on Cue

Clint Worthington

Film and TV critic Clint Worthington (Consequence, RogerEbert.com, The Spool) talks to a new composer every episode about the origins, challenges, and joys of their latest musical scores.
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Top 10 Right on Cue Episodes

Goodpods has curated a list of the 10 best Right on Cue episodes, ranked by the number of listens and likes each episode have garnered from our listeners. If you are listening to Right on Cue for the first time, there's no better place to start than with one of these standout episodes. If you are a fan of the show, vote for your favorite Right on Cue episode by adding your comments to the episode page.

Right on Cue - Anthony Willis (Saltburn)
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01/26/24 • 34 min

This week, we're catching up with one of the Oscar-shortlisted Best Score nominees -- Anthony Willis' score to Emerald Fennell's lavish, mysterious thriller Saltburn. Fennell's second directorial feature, after Promising Young Woman, is a kind of Brideshead Revisited by way of Tom Ripley and mid-2000s party culture: A mysterious young bloke named Oliver Quick (Barry Keoghan) follows his irrepressible attraction to fellow Oxford pretty-boy Felix (Jacob Elordi) all the way to Felix's palatial mansion, Saltburn. There, he immerses himself in the hedonistic lifestyles of the ultra-rich, all the while hoping to catch a glimmer of Felix's attention -- or does he? Reuniting with Fennell for his second score with her, composer Anthony Willis crafts a suitably Gothic sound for her idiosyncratic class thriller. Opening with romantic strings, transitioning into classical choir, then electric pianos and additional layers and textures, Willis draws the listener in like one of Oliver's obsessions, before disrupting the film's jagged classicism with rough modern electronic textures and a sense of sweeping orchestral doom. Today, we talk to Willis about all of that and more, including his longtime collaboration with Fennell and his early life as a chorister at Windsor Castle. You can find Anthony Willis at his official website. Saltburn is currently available for rental or streaming on Prime Video. You can also listen to the score on your preferred music streaming service courtesy of Milan Records.
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Right on Cue - Dave Porter (Echo)

Dave Porter (Echo)

Right on Cue

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01/19/24 • 32 min

For nearly fifteen years, composer Dave Porter has been the musical voice of the Breaking Bad universe -- having scored every season of Breaking Bad, Better Call Saul, and the film El Camino for good measure. Now, he plies his penchant for atmospheric, guitar-driven thrills to the MCU, with the new Disney+ series, Echo. A spinoff of Hawkeye, Echo hearkens back to the grittier, more violent climes of the Netflix Marvel shows, centering on deaf Choctaw assassin Maya, played by Alacqua Cox. Last seen betraying and shooting her boss and father figure, Vincent D'Onofrio's Kingpin, at the tail end of Hawkeye, Maya rides home to her small town in Oklahoma to reconnect with her roots and finish the war against Wilson Fisk that she started back in New York City. To score Maya's blood-soaked journey across Echo's five episodes, Porter made use of his signature mixture of guitar and synths to build a suitably neo-Western noir feel to the series. On top of that, the show incorporates many aspects of Native music and instrumentation, literally giving voice to the legacy of Native women Maya finds herself connecting to throughout her journey. Dave Porter joins us on the podcast to talk about the rigors of scoring for television, the role of music in a show about a Deaf protagonist, and the careful treatment of Native musical elements in his music for Echo. You can find Dave Porter on his official website. All episodes of Echo are currently streaming on Hulu and Disney+. You can also listen to the score on your preferred music streaming service courtesy of Marvel Music.
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Right on Cue - Carlos Rafael Rivera (Griselda, Monsieur Spade)
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02/09/24 • 41 min

Grammy- and two-time Emmy-winning composer Carlos Rafael Rivera has spent the last decade building moody, complex musical worlds around complicated characters. His earliest prominent work was with regular collaborator Scott Frank on films like A Walk Among the Tombstones, and the Netflix miniseries Godless. But it was his mercurial work on Frank's miniseries The Queen's Gambit that earned Rivera breakout status. Since then, he's worked on a host of films and series both with Frank and elsewhere: Apple's Lessons in Chemistry, HBO's Hacks. But his two most recent scores, and some of his best, have him dealing with different ends of the prestige-crime-drama ecosystem. Take Netflix's Griselda, in which an unrecognizable Sofia Vergara climbs her way to the top of Miami's drug trade as the real-life Cocaine Godmother; scored like an opera, Rivera's sound is full of harpsichord, lone voices, big breathy melodramatic moments. On the other side of the Atlantic lies AMC's stellar miniseries Monsieur Spade, in which Clive Owen plays an older Sam Spade solving a mystery while spending his retirement in rural France after World War II. There, the usual noir trappings are leavened by a distinct sense of melancholy, lonely guitar strains underlining the postwar fragility of its French setting. This week, I'm thrilled to have Rivera on to talk about these shows and so much more, from his musical journey with the guitar to his philosophies on which perspective to score from. It's a brilliant chat (maybe one of the best this podcast has ever enjoyed), and I hope you enjoy. You can find Carlos Rafael Rivera at his official website here. Griselda is currently streaming on Netflix, and Monsieur Spade runs weekly on AMC and AMC+. You can also stream each soundtrack at your music service of choice.
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This week's guest is an Emmy winner, a Grammy winner, and a nine-time Oscar nominee, whose scores have graced the big and small screens since the 1980s. James Newton Howard is the voice of many of your favorite scores, from co-scoring the Dark Knight Trilogy with Hans Zimmer to his Oscar-nominated score for Paul Greengrass' News of the World. Now, he's back with several new projects, some of which hearken back to music he has written in the past. Howard's latest solo album, Night After Night, is a beautiful look back at his eight-film partnership with filmmaker M. Night Shyamalan, recontextualizing some of his most intriguing melodies from that longtime collaboration into piano-driven suites performed by virtuoso musicians, including concert pianist Jean-Yves Thibaudet. On the small screen, Howard recently completed a lush, yearning score for Netflix's new miniseries All the Light We Cannot See, based on the acclaimed novel by Anthony Doerr and directed by Shawn Levy. Plus, after nearly a decade away from Panem, Howard resumes his collaboration with director Francis Lawrence for the Hunger Games prequel The Ballad of Songbirds and Snakes. Now, Howard is here on the pod to talk about all of these projects and more. You can find James Newton Howard at his official website here. Night After Night is currently available on vinyl or your preferred streaming service, courtesy of Sony Masterworks. Same with All the Light You Cannot See, courtesy of Netflix Music, and The Ballad of Songbirds and Snakes, care of Sony Music.
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Sometimes, the dumbest things are the most delightful -- and that's certainly the case with A24's riotous new musical, Dicks: The Musical. A tongue-in-cheek (and other places) song-and-dance comedy, Dicks: The Musical started out as an hourlong show at the Upright Citizens Brigade in New York City, written by and starring Josh Sharp and Aaron Jackson who play two definitely identical twins who find each other and decide to get their estranged parents back together, Parent Trap-style. Problem is, their parents are even crazier than they are, leading to a cavalcade of numbers about incest, sociopathy, not having a pussy, and spit-feeding ham to two tiny animatronic freaks called the Sewer Boys.

The duo responsible for such disgusting earworms are songwriters Karl Saint Lucy (who wrote for the original UCB show) and Grammy-winning music producer Marius de Vries of La La Land and Moulin Rouge! fame. Together, they expanded songs from the musical, made new ones out of whole cloth, and leveraged a bevy of musical influences to build the sprightly, surprising songbook featured in the film. And this week, we speak to the pair about their collaboration, the long road to release, and finding the funny in the filthy.

You can find Marius de Vries and Karl Saint Lucy at their respective official websites.

Dicks: The Musical is currently in theaters. You can also listen to the soundtrack on your preferred music streaming service courtesy of A24 Music.

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Right on Cue - Yair Elazar Glotman (Reptile)
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09/30/23 • 29 min

This week, we speak to composer Yair Elazar Glotman about his score for the latest prestige thriller from Netflix, Reptile, a stylish neo-noir starring Benicio Del Toro as a mercurial detective looking into the murder of a real estate agent. Everyone's a suspect, from the victim's boyfriend (Justin Timberlake) to the creepy guy down the street (played by Michael Pitt), even to some of Del Toro's fellow officers (incluidng Ato Essandoh, Domenick Lombardozzi and Eric Bogosian). It's the directorial debut of music video director Grant Singer, who fills each corner of the frame with cold, calculating and precise compositions, painting an isolated, alien world of hidden motivations and untold terrors hiding within the mundane. Singer's work in Reptile closely mirrors the work of David Fincher, and it's an intriguing experience to behold -- not least because of Glotman's dissonant, visceral, textural score. Building eerie combinations of altered string compositions and textured syths, Glotman's work fills in the empty spaces left by Reptile's sparse, opaque script, echoing through the vast voids of understanding the central mystery leaves its viewers. Now, I'm pleased to have Glotman on the podcast to talk about how he got started in music and composing, his work with Singer on Reptile, and his fascination with pulling apart the sound of things to see what he can find. You can find Yair Elazar Glotman at his official website here. Reptile is currently streaming on Netflix. You can also listen to the score on your preferred music streaming service courtesy of Netflix Music.
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Right on Cue - Paul Leonard-Morgan (The Pigeon Tunnel)
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01/12/24 • 35 min

This podcast has had a long and fruitful relationship with composer Paul Leonard-Morgan, the man behind the scores of films like Dredd and Limitless, among countless others. But two commonalities have permeated the scores he's discussed with me: Errol Morris and Philip Glass. For the former, he teamed up to score Amazon's Tales from the Loop; for the latter, he's scored A Psychedelic Love Story among many other Morris docs, many of them alongside Glass. Now, both have teamed up for yet another of Morris' deep probes into an intriguing figure, this time famed novelist John le Carre, the author of books like Tinker, Tailor, Soldier, Spy. Framed as the prototypical days-long sitdown between Morris and his subject, The Pigeon Tunnel takes us through le Carre's childhood and early days with his abusive father, to his time in the spy service, to the ways those experiences informed his legendary novels. In so doing, Glass and Leonard-Morgan had to build a whopping eighty minutes of score, a propulsive effort that keeps the spy-thriller momentum of the doc going with cimbaloms and other features of the '60s espionage caper. And this week, we've got Paul back on the podcast to talk about his collabs with Morris and Glass, and building a score for the most mysterious man in the world. You can find Paul Leonard-Morgan at his official website here. The Pigeon Tunnel is currently streaming on Apple TV+, and you can listen to the score on your preferred music streaming service courtesy of Platoon.
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Right on Cue - Uno Helmersson (Flee)
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12/20/21 • 41 min

Refugee narratives are a common one in documentary, but Jonas Poher Rasmussen's Flee is something unique. Telling the story of one of Jonas' childhood friends, a gay Afghan refugee named Amin, Flee charts its subject's childhood in Afghanistan, the circumstances by which he had to leave. Fleeing to Denmark without the rest of his family, he was left all alone to figure himself out -- not just his sexuality, but his identity as well.

Told in striking, minimalist animation, both depicting interview segments with Amin and dramatized tales of his past, Flee feels like a hazy recollection of a traumatic history, both of the Middle East and its protagonist. But for all its applicability to real-world politics, its scope remains deeply personal -- how seismic global events rippled throughout Amin's life, and looking wistfully at how they made him the man he is today. Equally evocative as the animation is the score, courtesy of prolific Swedish composer and multi-instrumentalist Uno Helmersson. Experimental and unobtrusive, yet completely in line with its subject's interiority, Uno's dense, layered cues float around the film's periphery to lend voice to things Amin leaves unsaid -- about himself, about his love life, and so much more. And now, Helmersson joins us in the studio to talk about Flee and his lifetime of work in film and television music. You can find Uno Helmersson at his official website here. Flee is currently available in theaters. You can also listen to the score for Flee on your preferred music streaming service courtesy of Milan Records.
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Right on Cue - Reza Safinia (Warrior)
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07/16/21 • 41 min

One of the best, most undersung action shows on television is Cinemax's Warrior, a stylish period piece based largely on concepts developed by the late Bruce Lee for a show that would eventually (and unfortunately) become Kung Fu.

Charting the conflicts between Chinese gangs and the American police in San Francisco's Chinatown in the 19th century, it's a show that combines some of the best, clearest action on TV (thanks to Andrew Koji, Joe Taslim, and a roster of incredible martial artists and choreographers) with a tale of America's own reckoning with its racial animus.

Adding to the cool factor is the show's jaunty, stylistically agile score, co-written by Reza Safinia alongside creative partner H. Scott Salinas. A multi-instrumentalist composer who's worked on shows like Snatch, P-Valley, and the Nicolas Cage film The Trust, Safinia scores with a decidedly meditative, deliberate approach -- no doubt aided by his years of connection to creative meditation, Daoist philosophies, and the like.

On top of his scoring for Warrior (which just received a surprise renewal thanks to HBO Max), Safinia has also been hard at work on a set of dual concept albums, Yin and Yang, which explore the flowing musical conversation between classical and electronic music.

Together, Safinia and I talked about those albums, the relationship between meditation and music, and crafting the hard-hitting score to Warrior.

You can find Reza Safinia's official site here.

Warrior is currently streaming on HBO Max, with a third season on the way. You can listen to the soundtracks for seasons 1 and 2, as well as Reza's albums Yin and Yang, on Spotify and other music streaming services.

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Right on Cue - Vince Pope (True Detective: Night Country)
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02/24/24 • 30 min

This week's guest is RTS winning and BAFTA-nominated composer Vince Pope, a London-based composer who cut his teeth on scores ranging from Misfits to episodes of Black Mirror. But his most exciting collaborations of late have been those with filmmaker Issa Lopez, starting with her 2017 magical-realist horror film Tigers Are Not Afraid. Now, the pair reteam to put a supernatural spin on HBO's seminal crime thriller series True Detective. Inherited from Nic Pizzolatto's three-season anthology series, Lopez's new season, subtitled Night Country, follows a precarious period of darkness in a small Alaskan town as the town sheriff (Jodie Foster) and her ex-partner (Kali Reis) investigate the mysterious deaths of the members of a corporate research station on the outskirts of town. The case may well be tied to the unsolved murder of a Native woman that tore their partnership asunder years prior, and sends the pair down an ominous road filled with tough moral choices and events that lie beyond their understanding. Pope's score blends elements of horror and murder-mystery atmosphere with a deep swell of psychospiritual torment, to say nothing of the addition of Native American elements like throat singers and collaborator Tanya Tagaq to incorporate the show's exploration of those cultures. Now, Pope joins me on the podcast to talk about True Detective: Night Country. You can find Vince Pope at his official website here. You can stream the entire season of True Detective: Night Country on Max, and listen to the score on your preferred music streaming service courtesy of WaterTower Music.
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FAQ

How many episodes does Right on Cue have?

Right on Cue currently has 100 episodes available.

What topics does Right on Cue cover?

The podcast is about Marvel, Film, Commentary, Interview, Music, Podcasts, Tv, Music Interviews and Tv & Film.

What is the most popular episode on Right on Cue?

The episode title 'Mike Post (Law & Order, Message from the Mountains & Echoes of the Delta)' is the most popular.

What is the average episode length on Right on Cue?

The average episode length on Right on Cue is 35 minutes.

How often are episodes of Right on Cue released?

Episodes of Right on Cue are typically released every 10 days, 16 hours.

When was the first episode of Right on Cue?

The first episode of Right on Cue was released on May 15, 2020.

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