In this episode of Sync Music Matters, I’m joined by composer and music producer Simon Franglen for a fascinating conversation spanning pop production and film score.

Simon reflects on his early career writing jingles and programming the Synclavier for Trevor Horn, an experience that placed him at the intersection of music and emerging technology. That foundation led to high-level session gigs working on music for artists including Michael Jackson, Whitney Houston, and Celine Dion – culminating in his role producing “My Heart Will Go On” for Titanic.

His transition into film scoring began with Dances With Wolves, working alongside John Barry and then Alan Sylvestri and James Horner. Experience that shaped his approach to melody and storytelling. We discuss how those lessons continue to inform his work today.

The conversation then turns to Simon’s latest project, Avatar: Fire and Ash, where he recorded new themes and created original musical instruments to help define the film’s sonic world. With a piano in the room, Simon plays excerpts from the score, offering rare insight into his creative process.

Simon talks about the film’s songs including “Dream as One” by Miley Cyrus and “The Future and The Past” sung by Zoë Saldaña and how they support the narrative.

We also explore the decline of strong thematic composition in modern cinema and why Hollywood has shifted away from it.

Finally, Simon offers his perspective on AI and the music industry, addressing both the risks and the enduring importance of human creativity.

Listen to the Avatar: Fire and Ash Score on Spotify

In the latest episode of Sync Music Matters, I sit down with composer Nathan Klein to dive deep into his gripping score for the Sky series Atomic – a project defined by chaos, grit, and raw emotional power. From experimenting with industrial synths to navigating the psychological pressures of pitching, this conversation is a fascinating insight for anyone interested in film scoring and TV music composition.

Nathan shares the creative journey behind developing the sonic identity of Atomic. The series demanded a score that felt chaotic and like it was part of a naughties buddy movie. To capture this, he leaned into Gritty industrial synths and Aggressive, textural string performances

The Trap of Second-Guessing: Why Composers Must Trust Their Voice

One of the most valuable themes in this episode is the danger of second-guessing what directors want during the pitching process. Nathan talks candidly about trying to predict expectations instead of following his instincts

He highlights that directors often respond most strongly to ideas that feel authentic and bold.

Creativity Under Pressure: Overcoming Mental Blocks

We also dig into how pressure can stifle creativity—something every composer, producer, and artist knows too well. Nathan shares how deadlines, self-doubt, and the fast pace of TV work can shrink your creative space if you let them.

The conversation expands beyond Atomic into Nathan’s work on BBC series Ludwig and Film Club, directed by, written by, and starring Amy Lou Wood. These projects required a totally different musical touch offering an intimate contrast to the intensity of Atomic.

Whether you’re an emerging composer, a seasoned scorer, or someone fascinated by the craft behind film and TV music, this episode offers:

• Practical insights into the composing and pitching process
• Honest discussion about the psychological side of creative work
• A behind-the-scenes look at two major projects from one of the industry’s rising composers

Nathan Klein Website

Nathan Klein Instagram

I recently sat down to interview Mac Quayle the Emmy-winning composer, known for his iconic work on Mr. Robot and most recently Monster: The Ed Gein Story. Our conversation traced his journey from club DJ to composer of some of television’s most unsettling soundscapes.

From Dance Floors to Film Scores

Before Hollywood, Mac was shaping late-night dance floors as a DJ and remixer in New York. But with the advent of streaming and the death of music sales Mac decided to change lanes.

That pivot led him to collaborate with legendary composer Cliff Martinez, and Mac moved from commercial music to cinematic storytelling

Scoring Monster

With Monster, Mac wasn’t interested in jump scares or obvious horror tropes. Instead, he built a score rooted in psychological dread – leaning into quiet tension and emotional unease – the kind that lingers long after the scene ends. The result is a sonic world that feels intimate, unsettling and hauntingly human.

We dived deep into his creative toolkit of modular synths, processed textures, and unconventional string techniques – exploring the tactile noises that make strings feel alive, anxious and close to the skin.

Mac Quayle Website

Mac Quayle Instagram

Sync Music Matters