Explore every episode of the podcast Sound of Cinema

To mark the latest release in the Jurassic Park franchise, Jurassic World Rebirth, Matthew Sweet looks at music for films set in prehistoric times, or that feature dinosaurs in a modern setting.

Matthew Sweet talks to film editor, sound designer and director Walter Murch about working on Apocalypse Now, the Godfather films, The Conversation, Barton Fink and Return to Oz

Matthew Sweet is on the hunt for mythical creatures on the big screen. Tune in to escape reality, as we explore film music that transports you to fantastical worlds; from Middle-earth with Howard Shore’s beloved music for The Hobbit, to ancient Greece with Leonard Rosenthal's epic score for Clash of the Titans. Our final destination is the Isle of Berk, the Viking setting of How To Train Your Dragon - the live action remake, scored by John Powell, is released in cinemas this week.

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Matthew Sweet looks at unusual instruments used in film scores such as the Cristal Baschet which is a favourite of Cliff Martinez in scores such as Drive.

He considers the use of unusual technology such as the Blaster Beam used by Jerry Goldsmith in Star Trek: The Motion Picture. He traces the development of electronics in film music, from 'electronic tonalities' in Forbidden Planet, to the Moog synthesiser in A Clockwork Orange, and the later use of the Chamberlin by Jon Brion in Eternal Sunshine of the Spotless Mind.

We hear unusual instruments in the scores of blockbusters such as Casino Royale (David Arnold), Sherlock Holmes and Dune (Hans Zimmer). And Matthew's Classic Score of the Week, Spellbound by Miklós Rózsa, features the Theremin.

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Matthew Sweet dials in, with a playlist of film music inspired by a phone call.

Hold the line for classics including Scream, The Conversation and Dial M for Murder. Also featuring Bear McCreary’s score for our featured new release, Drop.

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Matthew Sweet is joined by multiple award-winning composer A.R. Rahman to explore his extraordinary career in film music, including his best-known score - Slumdog Millionaire. In an exclusive interview, we hear about his relationship with his father, R.K. Sekher who was also a film music composer. A.R. Rahman tells Matthew about his early success in the Indian film industry, and why he decided to remain in the industry rather than become a rock musician. And we hear about his work in Hollywood on the comedy Couples Retreat.

A.R. Rahman talks about recently turning his hand to directing with Le Musk, a Virtual Reality film he wrote, scored and co-produced that even uses specially created smells to evoke memories in the viewer. And we hear about his new appointment as Honorary President of Trinity Laban Conservatoire of Music and Dance.

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Matthew Sweet celebrates the life and work of Studio Ghibli composer, Joe Hisaishi. Tune in for some of his most beloved music, with classic soundtracks including Spirited Away, My Neighbour Totoro and Howl’s Moving Castle.

Joe Hisaishi will make his BBC Proms debut this year, performing with the Royal Philharmonic Orchestra at the Royal Albert Hall.

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This special episode of Sound of Cinema features an exclusive interview with the legendary film composer and record producer, Hans Zimmer.

Hosted by Matthew Sweet, this programme dives into the growth of live film music, exploring how scores are reworked for the concert platform.

With a catalogue of iconic soundtracks including Pirates of the Caribbean, Inception, and The Dark Knight, Hans Zimmer is a household name. Tune in to find out how he got started in the music industry, where his inspiration comes from and how he prepares for a live performance.

Sharing the stage in this episode is Debbie Wiseman, the award winning composer behind the music of Wolf Hall, and Bear McCreary, a composer who is celebrated for his work on Battlestar Galactica, God of War and more.

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Evil penguins, chickens on the run and the mischievous sheep of Mossy Bottom Farm. Enter the unique musical world of Aardman Animations as Matthew Sweet celebrates the studio's iconic film scores with the release of Wallace & Gromit: Vengeance Most Fowl.

Matthew visits the Aardman Animation studios in Bristol to meet archivist Tom Vincent, where he encounters uniquely Aardman props, puppets and scores - even a real-life Were-Rabbit.

Matthew also speaks to those involved in Vengeance Most Fowl at work in Abbey Road studios in London: filmmaker, animator and creator of Wallace & Gromit, Nick Park and the film's composers Julian Nott and Lorne Balfe.

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Matthew Sweet bangs the drum for the inventive ways films use percussion. There's Tan Dun's taiko masterclass of a score in Crouching Tiger, Hidden Dragon, the delicate and lyrical marimba in American Beauty, John Williams' ritualistic drums in Indiana Jones and the Temple of Doom, and Justin Hurwitz's obsessive kit in Whiplash.

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Matthew Sweet celebrates the centenary of legendary film composer Ron Goodwin - famous for his scores for Where Eagles Dare, 633 Squadron, The Battle of Britain and the Miss Marple films. However, Goodwin's scores are far more varied than military marches, with his music for Hitchcock's Frenzy and the first-ever score for brass band, Escape from the Dark.

Matthew also speaks to Helen, the step-daughter of Ron Goodwin, who shares her memories of growing up with an in-demand composer.

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Matthew Sweet celebrates the film highlights of the year with a focus on the recently announced 2025 Bafta winners.

He speaks exclusively with the winner of the Best Original Score - composer Daniel Blumberg, for the film The Brutalist - who tells Matthew about how he travelled to an Italian quarry to record some of the music, and what it was like to actually win the Bafta itself.

There's music from Conclave, The Brutalist and The Wild Robot, plus even some Zoe Saldana and a hint of Trent Reznor's alarm clock....and even a musical jump-scare from Nosferatu....

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Matthew Sweet speaks to actor and director Jesse Eisenberg about using Chopin's music in his latest film "A Real Pain" - the story of two cousins touring Poland to honour their grandmother. Matthew also explores the wider impact Polish music and musicians have had on the world of film music - from Bronislaw Kaper's music for the 1954 monster classic "Them!" to Wojciech Kilar's award-winning scores for "The Pianist" and "Bram Stoker's Dracula".

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Matthew Sweet talks to composer Debbie Wiseman about using period music in films. For the TV series Wolf Hall, Debbie wrote original music in a period style, films like Farinelli and Death In Venice use classical music and for the series Bridgerton Kris Bowers created a hybrid of period-sounding music with hip-hop beats. Matthew asks how the search for authenticity enhances the viewer's experience, and when does it become a distraction?

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With the Maria Callas biopic starring Angelina Jolie in cinemas, Matthew Sweet speaks to Maria director Pablo Larrain. The talk about working with Angelina Jolie, being a frustrated musician himself and how Pablo uses music in his films. Pablo also reveals the secrets of bringing Maria Callas alive through Angelina's singing.

Matthew also explores how films have turned to their natural predecessor, opera, for inspiration. Puccini's Madame Butterfly proves a Fatal Attraction for Michael Douglas, Bernard Herrmann writes his own aria for Citizen Kane, and the Habanera from Bizet's Carmen gives depth and poignancy to widower Carl's pottering in Up!

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Defying the convention of massive orchestral scores, Matthew Sweet looks at films that embrace the intimacy of chamber music including: the Syrian-inspired strings of Nainita Desai's For Sama score, The Third Man's iconic 1949 zither melody composed by Anton Karas, Clint Mansell's agonising quartet from Requiem for a Dream, and a surprising period drama score written for a trio by John Williams.

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From the driving energy of North By Northwest to the iconic string stabs of Psycho, music is an integral part of what makes Alfred Hitchcock's films stand out. Matthew Sweet finds out what makes them so good and looks at times when Hitchcock and his composers disagreed.

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As part of Radio 3's European Road Trip, Matthew Sweet explores some of the best soundtracks in German cinema.

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What is the sound of Papal Rome? Matthew Sweet explores the music of films set in and influenced by the Vatican. From Morricone's melancholy oboe in The Mission to Hans Zimmer's massed choirs and menacing strings in Angels & Demons. Nino Rota's score for The Godfather Part III exquisitely demonstrates both the pageantry of the Catholic Church and Michael Corleone's personal feelings of guilt in the film. Meanwhile, the solo guitar highlights the intimacy between the two protagonists in Bryce Dessner's score for the gripping biographical drama The Two Popes, highlighting the intimacy between the popes of the film's title.

The Vatican has even issued a list of films it deems important so we'll hear the music that they're recommending, such as On The Waterfront, The Lavender Hill Mob and The Wizard of Oz.

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Presenter Matthew Sweet cosies up with the soundtracks of films that bring comfort to those dark, wintry nights…

From the life-affirming joy of Studio Ghibli classic My Neighbour Totoro to the 80s cinema thrills of Raiders of the Lost Ark, he uncovers why film scores don't necessarily need to be twee to warm our hearts…

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Hop on board the Polar Express! Matthew Sweet's unwrapping the greatest Christmas film soundtracks. We'll be walking in the air with Howard Blake's Snowman and Home Alone with John Williams.

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In cinema, US presidents have been portrayed as heroes, villains, great leaders who unite the world and hopeless puppets who are the butt of jokes. In this episode, Matthew Sweet casts his vote on classic soundtracks to films including Nixon and Independence Day.

Celebrating the 1991 blockbuster, Point Break, as it returns to cinemas in the UK.

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With the release of Gladiator II in cinemas, Matthew Sweet brings us the music of the Roman Empire - as told by Hollywood - from Alex North's scores for Spartacus and Cleopatra, Miklos Rozsa's epic music for the equally epic Quo Vadis? and Ben Hur. Matthew is also joined by composer and academic Dr MaryAnn Tedstone Glover to find out if the music we now think of as Roman sounds anything like what the Romans themselves would have heard.

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Sleepless In Seattle, When Harry Met Sally, The Addams Family, Hairspray, Mary Poppins Returns, Marc Shaiman's music has been a part of our lives for over three decades. One time king of the Romcom score, master arranger and songwriter, Marc talks to Matthew Sweet about his career and introduces cues from some of his many scores. As well as those listed above, the programme also features music from Mr Saturday Night, City Slickers, The American President, LBJ, Bros, and Marc's chosen Classic Score of the Week.

Matthew Sweet saddles up to explore the most iconic soundtracks of the Wild West. Traverse the sweeping landscape with music from Western blockbusters, including The Magnificent Seven and A Fistful of Dollars. Featuring the award-winning score from Butch Cassidy and the Sundance Kid, in celebration of its 55-year anniversary.

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Matthew Sweet packs his bags in search of the films that bring back memories of summer - with music from the hot sun of Roman Holiday and Jean de Florette, the childhood adventures of Swallows and Amazons and UP and the nostalgia of Cinema Paradiso.

This special episode of Sound of Cinema features an exclusive interview with the visionary filmmaker M. Night Shyamalan, known for his masterful blend of suspense, psychological drama, and supernatural elements in films like The Sixth Sense, Unbreakable, Signs, and Split.

His collaboration with composers like James Newton Howard has resulted in some of the most memorable film scores of recent decades, making his insights particularly valuable in the context of Sound of Cinema.

Hosted by Matthew Sweet, the programme dives into the unique role that music plays in Shyamalan’s films, exploring how scores have been integral in shaping the eerie atmospheres and emotional depth for which his work is renowned.

Whether you’re a devoted fan of Shyamalan’s work or simply curious about the intersection of music and film, this episode promises to be a fascinating listen.

With a career spanning 60 years and over 200 films, the late Donald Sutherland was a true acting legend.

His son, actor Kiefer Sutherland - best known for his starring roles in 1987's The Lost Boys plus Designated Survivor and 24 - joins Matthew Sweet to look back at his father's life through the soundtracks of his major films.

It includes music from The Hunger Games (by composer James Newton Howard), Don't Look Now (composer Pino Donaggio), Six Degrees of Separation (composer Jerry Goldsmith) and Pride and Prejudice (by composer Dario Marianelli), this episode also contains insights into what it's like learning about your father through film...

With the release of Fly Me To The Moon - in which Scarlett Johansson wants to fake the moon landing - Matthew Sweet uncovers the films in which fakery is the name of the game.

From characters stuck in artificial worlds - The Truman Show and The Matrix - to films that lead the audience to question what's real and what's not, like The Game, Total Recall and Synecdoche New York, this episode of Sound of Cinema looks at how deception comes across in the music of these fraud-based films...

Matthew Sweet in conversation with Abel Korzeniowski, the composer of Ishana Night Shyamalan's supernatural horror film The Watched. We'll hear about writing music for 'Emily', the 2022 biopic about Emily Brontë, and the film that won Colin Firth the Best Actor award at the 2009 Venice Film Festival, A Single Man. Abel also talks about why Francis Ford Coppola's The Godfather means so much to him.

Matthew Sweet showcases film scores about female firsts and cinematic examples of outstanding achievements by women, and he chats to composer Amelia Warner about her score for the new film Young Woman and the Sea recalling the story of Gertrude Ederle, the first woman to swim the English Channel.

The programme also includes music from Pope Joan, Cleopatra, Captain Marvel, Hidden Figures, Suffragette, Radioactive, Amelia, Mary Shelley, and the Classic Score of the Week - Toshiro Mayazumi's music for the 1966 movie The Bible: In The Beginning...

With the release of Kingdom of the Planet of the Apes, Matthew Sweet hails cinema's greatest apes. From King Kong to Gorillas In The Mist, apes have proven a constant lure throughout the history of film and in today's programme we'll hear the soundtracks for the very best of them. And Matthew takes us on a sonic journey through the music of all nine Planet of the Apes films.

Cannes is one of the most prestigious film festivals in the world. In this week’s Sound of Cinema, Matthew Sweet catches up with journalist and film critic Agnes Poirier who is in Cannes to put us at the heart of the festival. She tells of encounters with Jack Nicholson on his way home from a party at 7am and Arnold Schwarzenegger in a shoe shop. She also talks about the growing recognition of female directors and the global nature of film.

From the new Zendaya film "Challengers", to "Eternal Sunshine of a Spotless Mind", every breakup brings its own challenges. Matthew Sweet brings the ice cream and a shoulder to cry on for the films that tackle the subject of exes head on.

With the release of the biopic about Amy Winehouse, Back to Black, Matthew Sweet explores the stories of lives that have been told on the silver screen.

The Sci-fi sequel Dune 2 is one of the most hotly awaited films of the decade. As part of the build-up to tomorrow's Sound of Cinema Day, which anticipates the Academy Awards celebrations, Matthew Sweet talks music with Dune's extraordinary and brilliant French-Canadian director, Denis Villeneuve.

Matthew Sweet in conversation with the Oscar-winning composer of Shakespeare in Love, Stephen Warbeck.

The American composer of TV's Bridgerton, The Green Book, Chevalier and King Richard - Kris Bowers, joins Matthew Sweet to talk about his music for the remake of The Color Purple and Origin in a look back on his screen career to date.

The programme was first broadcast in January 2024.

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Matthew Sweet musters all his resourcefulness to bring us the music of the best modern survival films as Jodie Comer tackles rising water and raising a child in The End We Start From. Matthew is joined by the composer of the film's score, Anna Meredith, who talks about her experiences of working in film. Also in the programme, music from Life of Pi, The Poseidon Adventure, Gravity, The Martian, 127 Hours, 1917, The Day After Tomorrow, and the Classic Score of the Week - Miklos Rosza's The World The Flesh And The Devil.

Matthew Sweet celebrates 50 years of one of cinema's greatest collaborations - that of director Steven Spielberg and his composer of choice, John Williams.

With music from E.T. the Extra-Terrestrial, Indiana Jones, Jaws, Schindler's List and Jurassic Park. Matthew gives us a close encounter with the music for Close Encounters of the Third Kind as he analyses the scene of humanity's first contact with the alien mothership.

Laura Karpman is best known for her work composing the soundtracks for The Marvels, and the Disney+ series Ms Marvel and What If… She joins Matthew Sweet from her studio in LA overlooking the Pacific and talks about studying under Milton Babbitt and Nadia Boulanger, scoring for documentaries, attending the Last Night of the Proms and the influence of Benjamin Britten on her score for The Marvels.

This weekend sees the relaunch of Hammer Studios and the release of a new telling of the Dr Jekyllstory, starring Eddie Izzard. Matthew looks back on Hammer’s contribution to cinema and to some of the often inventive and even experimental composers who have created music for the studios since its inception in 1934. Hammer Horror - the vibrantly colourful and distinctive engagements with terror that starred the likes of Christopher Lee and Peter Cushing. Films that brought us recurring tales of The Mummy, Dracula and Frankenstein; and music from the likes of James Bernard. But there was so much more to Hammer. The programme includes cues from Doreen Carwithen for Robin Hood, Tristan Carey’s early electronic experiments for Quatermass, Franz Reizenstein’s parody score for The Mummy, Harry Robinson’s musical evocation of Carmilla, and Mario Nascimbene’s pioneering work for One Million Years BC. Plus, of course, classic Hammer moments from James Bernard. And Matthew also talks to composer Blair Mowatt about his score for the new Dr Jekyll film.

What was your experience of a first date at the cinema? Presumably you arrived together - but did you leave separately? Matthew Sweet listens to listeners' experiences of their movie first-dates and - rather appropriately - plays great, thrilling and tragic music from the films.

Matthew Sweet's guest this week is the composer George Fenton. His breakthrough came with Richard Attenborough's biopic Gandhi, since then he's scored over 100 films including Cry Freedom, Shadowlands, The Madness of King George, Groundhog Day and The Wind that Shakes The Barley. He speaks to Matthew about his rich and varied career as well as his assocations with directors such as Richard Attenborough, Stephen Frears, Nora Ephron - and Ken Loach, whose latest film, The Old Oak, is released his week.

Of all the genre titles the 'family film' is perhaps the trickiest to define. Its intention, clearly, is to entertain and appeal to the whole family - togetherness. But what are the specific ingredients that make it so? Nevertheless, cinema goers seem to have a good sense of what an advertised family film might have to offer.

Matthew Sweet looks back at this category of film, which seemed to spring into existence in America around the 1930s, and he foregrounds the music of some of the best and most defining examples.

The programme includes music from Home Alone, Snow White and the Seven Dwarves, Gulliver's Travels, Honey I Shrunk The Kids, The Seventh Voyage of Sinbad, Chitty Chitty Bang Bang, ET - The Extra Terrestrial, Kiki's Delivery Service, Paddington 2 and the Classical Score of the Week - the Harry Gregson-Williams and John Powell score for Shrek.

From the Life of Pi to The Jungle Book; His Dark Materials to Wolverine, Matthew Sweet features film music shaped by the fantastical idea of humans as animals. We'll hear of spirit animals, cursed princes, what happens when your parents are turned into pigs (Spirited Away) or your mum becomes a bear (Brave). And we adopt the mantle of The Batman to root out the animal powers of superheroes. The programme also features music from the new release 'Blue Beetle' composed by Bobby Krlic.

Following the release of Greta Gerwig's Barbie, Matthew Sweet considers cinema's fascination with the colour pink. Many films adopt a colour code to establish the mood and tone of the movie. The colour pink in particular has associations with love, innocence, femininity, charm and fun. In this edition of Sound of Cinema, Matthew focuses on music for films which exploit these ideas of pinkness - for films such as Grease, Batman Returns, Steel Magnolias, Legally Blonde, The Devil Wears Prada, Paddington... and Harry Potter.

With the appearance of the eagerly anticipated new Christopher Nolan biopic about Oppenheimer, Matthew Sweet turns his attention to film scores bent on destruction, including Ludwig Goransson's score for the new film. The programme includes music from The Hitchhiker's Guide To The Galaxy, When Worlds Collide, Melancholia, Wandering Earth, Deep Impact, Armageddon, The Man Who Fell To Earth, Rogue One - A Star Wars Story, Star Wars - A New Hope. The Classic Score of the Week is Star Trek II - The Wrath Of Khan.

With the release of the new Tom Cruise Mission: Impossible film - Dead Reckoning Part 1 - Matthew Sweet focuses on stunt scenes in movies. Carefully planned and choreographed stunts have been a part of cinematic entertainment since the start. Matthew offers a selection of music to match the moment. Matthew is joined by Hollywood stunt co-ordinator Simon Crane (World War Z, Men in Black, Quantum of Solace, The World Is Not Enough, Mr & Mrs Smith, Troy, Lara Croft, Saving Private Ryan, Titanic) who talks about the art of stunt acting, some of his favourite stunts and about the role of music in stunt scenes. The programme features music from The Dark Knight Rises, The Adventures of Robin Hood, Ben Hur, Golden Eye, Quantum Of Solace, Lara Croft - Tomb Raider, and Mission: Impossible.

The film Elemental is released this week with a score by Thomas Newman. Matthew looks at how the elements, earth, air, fire and water have been portrayed in movie soundtracks.