Tom Holkenborg (Junkie XL): The Madness of Modern Film Scoring

In this clip, composer and DJ Tom Holkenborg (Junkie XL) discusses how technology has caused vast changes to the landscape of film scoring in the last 10 years.

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[whattherec]

I could not take my eyes off those modular synths...total trance!

[EricWatkins]

Dang Rick, you are becoming an interviewing legend in the film score world as well. Please keep it going!

[Funkybassplayer]

Hey Rick. His appreciation of the art of learning a instrument. I recognize this feeling. 3 years ago I started learning the bass and now Everytime I see or hear an experience bass player my jaw drops. Such skill and making it look so easy. Leland sklar for instance. Just amazing.

Tom is a wonderful person! Respect Brilliant musician and programmer

[BossLevelAudio]

5:13 "There's ten different ways to play a staccato note". It's so true. As astounding as string libraries are these days, it just cannot compare to real players because of the seemingly endless ways they can play a note. It would fill a hard drive alone to capture all the expressions. I go as far as legato, staccato, tremolo and pizzicato and I adjust velocity afterwards. I'd never rate hans Zimmer as a composer of melody like say, John Williams but he's brought this whole new production sound of layering strings with synthesis that's the way forward for game and film/tv composers. If you haven't got an orchestra in your back pocket, then go the Zimmer way.

[alleyway]

I'm glad you included your interlude explaining Rick Beato 2. I didn't realize that, so now I'm subscribed. I enjoy watching your facial expressions, Rick, as you interview. I cannot help in notice you seem a little giddy interviewing other such talented musicians, in this case, a film composer. It's a joy to watch.

I like what Tom said beginning at 5:04. I once spent four hours programming an 11-second string part including violins, violas, cello and bass (with a bit of brass) - but I got it right:)

[colinmitchell]

Man, another interview with Tom would be awesome. They have done a lot more recently and moved studios.

[Legendoftherock]

Love this, Rick! You're living the best life. How in the world do you navigate through arranging all of these interviews - contacting and booking everyone?! Mind blown

[ezy.doesit]

This could be a 5 hours talk. Tom is such a lovely music and tech nerd

[Erdnase]

Love hearing them both enthusing about favourite music and players.

[TomStrahle]

Great interview Rick. More film composers. Interview some of the game composers next.

[realityboost]

Another reason to record in sections and deliver cues in multiple stems is because the score can often be orchestrated, recorded (and indeed mixed) BEFORE the picture is locked. Meaning you need the control/flexibility to re-edit the delivered cues to the final picture, later on. This is critical.

[MartinKoolhoven]

Thom is a great composer and a fantastic human being.

[IwatoHyena]

Dream Lab/Studio Set-up. Modular overload!

[oliverefremov]

In Tom's studio, every day is New Year's Eve.

I want to visit Tom's studio too.

[FussellFilms]

This was so fascinating a great interview.

[ikkehierrro]

Sometimes I really do feel good being Dutch. Tom is a humble hero. Driven by the force of music. Says cheese on every note. Gouda! (Gold)

[therantingboy]

These interviews you're landing are insane rick

[frippeno]

I was waiting for him to say Bladerunner 👏👏👏 That is just the best marriage of score and film IMO. Sounds both futuristic obviously but also timeless and has me asking ‘how’d he do that’ with 1981/2 era technology. Amazing.

[singthroughyourguitar]

Enjoyed this fascinating interview, and that studio looks amazing. Spaceship vibes 🌟⭐️🌟