Film at Lincoln Center Podcast
Oct 2, 2026 · 34 min · 11 segments
Welcome to the daily 64th New York Film Festival podcast. On today’s edition, Tony Gilroy, Pedro Pascal, Eva Victor, and Will Arnett join NYFF programmer Justin Chang at a press conference to discuss…
Tony GilroyGuest
Pedro PascalGuest
Will ArnettGuest
Eva VictorGuestReally quickly before I open up to the audience, um, I, we have to talk about the music.
This film was scored by a murderous row of composers, the Behemoth Collective.
I'll quickly read them all.
Michael Abels, Emily Bear, Lucas Frank, Michael Giacchino, James Newton Howard, Henry Jackman, Nami Melumad, Brandon Roberts, and Alan Silvestri.
Um, how do you coordinate nine composers and col- get them to collaborate on a score of this scope and scale?
Uh, as I finished, I realized that I, you know, I had created all these, I had to create all these fictional films and projects and things for, uh, for the music to bounce off of.
And I got to the end and I'm, and, uh, um, I remember talking to James in the beginning early on just socially and like, "What are you doing?" He goes, "I wanna do this." I said, "Uh, you can't." He goes, "What do you mean?" And I go, "C- I need, I need a different voice for each one of these things." "Oh, that's crazy." And, and, but I, but I, I really needed to cast it like actors.
Look, this is, this is the movie that did, I mean, this movie is very hard to finance, very hard to back.
It's, the fringes on this movie are crazy, and the idea of nine composers and...
But I just went out like an anarchist and I like tried to like, I certainly knew I had James in my back pocket, and I had access to Henry Jackman through John Finckley, and I went to Henry, and Henry Jackman just jumped in right away.
He was my first ambassador, and he was just so psyched, and he's so, he's just so lively, and he's such a great ambassador for the whole thing.
So he started like, he came on like, "Okay, you can do this." And he started, and I had to, my, my goal was to get, if I could get two, maybe two and a half composers before the agents figured out what I was doing.
Everybody's gonna get the same thing." And it's like, "What? What the..." So then I, my goal was to create FOMO.
Yeah.
There, the, the, the, the, um, I don't ma- wanna make the scoring part of it or casting part of that sound simple, but there was one part of it that's just almost impossible, which is how do you do the Viviana music?
Right.
Really quickly before I open up to the audience, um, I, we have to talk about the music.
This film was scored by a murderous row of composers, the Behemoth Collective.
I'll quickly read them all.
Michael Abels, Emily Bear, Lucas Frank, Michael Giacchino, James Newton Howard, Henry Jackman, Nami Melumad, Brandon Roberts, and Alan Silvestri.
Um, how do you coordinate nine composers and col- get them to collaborate on a score of this scope and scale?
Uh, as I finished, I realized that I, you know, I had created all these, I had to create all these fictional films and projects and things for, uh, for the music to bounce off of.
And I got to the end and I'm, and, uh, um, I remember talking to James in the beginning early on just socially and like, "What are you doing?" He goes, "I wanna do this." I said, "Uh, you can't." He goes, "What do you mean?" And I go, "C- I need, I need a different voice for each one of these things." "Oh, that's crazy." And, and, but I, but I, I really needed to cast it like actors.
Look, this is, this is the movie that did, I mean, this movie is very hard to finance, very hard to back.
It's, the fringes on this movie are crazy, and the idea of nine composers and...
But I just went out like an anarchist and I like tried to like, I certainly knew I had James in my back pocket, and I had access to Henry Jackman through John Finckley, and I went to Henry, and Henry Jackman just jumped in right away.
He was my first ambassador, and he was just so psyched, and he's so, he's just so lively, and he's such a great ambassador for the whole thing.
So he started like, he came on like, "Okay, you can do this." And he started, and I had to, my, my goal was to get, if I could get two, maybe two and a half composers before the agents figured out what I was doing.
Everybody's gonna get the same thing." And it's like, "What? What the..." So then I, my goal was to create FOMO.
Yeah.
There, the, the, the, the, um, I don't ma- wanna make the scoring part of it or casting part of that sound simple, but there was one part of it that's just almost impossible, which is how do you do the Viviana music?
Right.
The rest of this transcript — segmented and speaker-labeled, so you land on the exact moment something was said
Search every transcript — by keyword, by phrase, or by meaning, across every show Radar indexes
Trends — what is surging across podcasts, measured against its own baseline
Alerts — when a name you follow appears in a newly indexed episode
No account is needed to search Radar.
