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Settling the Score

Settling the Score

Written by: Jon & Andy
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About this listen

 Join Jon and Andy as they explore the world of film music, one score at a time. Each episode is an in-depth discussion of a classic film score: what makes it tick, how it serves the movie, and whether it's, you know, any good. It's a freewheeling, opinionated conversation with an analytical bent, richly illustrated with musical examples. No expertise required. The series began by tackling “100 Years of Film Scores," the AFI's list of (purportedly) the 25 greatest scores in American cinema history, and now draws from a broad range of distinguished scores old and new. Jonathan Dinerstein writes music for film and television in Hollywood. Andy is a pianist and music director. They've been chatting together about movie music for 20 years. Support the show at Patreon.com/SettlingtheScore. Write us at scoresettlers@gmail.com.© 2024 Settling the Score Art Entertainment & Performing Arts Music
Episodes
  • #73 – 2026 Oscars Special

    #73 – 2026 Oscars Special
    Mar 12 2026

    Jon and Andy camp out on Hollywood Blvd. for another marathon episode on this year’s Oscar nominees for Best Original Score. Is it possible there are some trends in film scoring that have us excited? Do we completely understand them? And, should we have been listening to all this music in our sleep?
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    2 hrs and 59 mins
  • #72 – Beetlejuice

    #72 – Beetlejuice
    Jan 14 2026

    Come on down as Jon, Jon, Jon and Andy, Andy, Andy haunt Danny Elfman's score to the 1988 supernatural comedy Beetlejuice! How did Elfman's background stand him in good stead for this particular brand of craziness? Which of his formative musical influences shine through this score? And, what’s a painless way to buy an ’84 Ford?
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    1 hr and 42 mins
  • #71 – The Grand Budapest Hotel

    #71 – The Grand Budapest Hotel
    Oct 23 2025

    Join Jon and Andy as they check into Alexandre Desplat's score for the 2014 Wes Anderson creation The Grand Budapest Hotel. How does Desplat's music align with Anderson's idiosyncratic perspective? What instruments give it its very particular zing? And, how might Wes Anderson edit this podcast differently?
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    1 hr and 34 mins
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