When searching for someone to write the score for his new film, Rebuilding, Max Walker-Silverman settled on Jake Xerxes Fussell and James Elkington, two songwriters in their own right, but new to the world of film composition.

Before Oli Julian was tapped to compose the score for the Netflix adaptation of The Twits, he was a kid growing up on Roald Dahl books, messing around in his childhood bedroom with recording equipment.

Austin King knows genre filmmaking. He’s a Features Programmer and Head of Submissions for Fantastic Fest, the preeminent showcase of genre filmmaking. Now, he’s making his short film debut with One Night Cherub.

Before Patrick Lawrence became a film editor, he was a musician. While the two might not seem like they have anything in common, both rely on a sense of rhythm to be successful.

In the case of Kyle Misak’s 2025 Fantastic Fest-premiering film, Bad Haircut, the problem isn’t with the haircut itself, but with the barber who wields the scissors.

Aztec Batman: Clash of Empires is a deeply personal project, and this legacy component of the project is something composer Ego Plum is still trying to wrap his head around.

The participants in Sean Cisterna’s documentary will be the first to tell you they don’t want anything to do with horror movies, but that didn’t stop them from being part of making one.

Burnin' Percebes is a writing/directing duo composed of Fernando Martínez and Juan González. The Fantastic Golem Affairs marks their fourth collaboration together, but at this point the two don’t see it as two people working together.

We’ve all had those days when the world feels like it’s out to get us. When everything that can will and does go horribly wrong. Ironically, bad days can also be a source for creative inspiration. That was the case with writer/director Rani DeMuth’s And Now I Lay Me Down.

Writer, director, and star Matthew Campanella talks about the film’s inspiration, the family affair of filmmaking, and the merits, or lack thereof, of jarred pasta sauce.

When looking for a composer for the series, The Eyes of Wakanda called upon Hesham Nazih, who scored the Moon Knight series, but that wasn’t the beginning of his career.

James Everingham didn’t set out to be a film composer, but at seventeen, he found himself at Abbey Road, recording his first feature score. Since then, he’s spent ten years collaborating with Hans Zimmer, won a ​​Televisual Bulldog Award for BBC's Frozen Planet II, and working in the worlds of film, TV, and video games. Everingham is once again teaming up with Zimmer for the score of the Apple TV+ series Chief of War.

Dara Taylor sat down with Beyond the Cinerama Dome to discuss the dreamlike way she was added to the MCU, tying Riri’s journey to the existing world of Black Panther, and the art of bucket drumming.

Production designer Udo Kramer who sat down with Beyond the Cinerama Dome to discuss joining the series in the second season, blending the old and new worlds together, and his favorite sets from the show. This transcript has been edited for length and clarity.

In the Tribeca-premiering short film, A West Side Story Story, co-writers Aditya Joshi and Ana Luz Zambrana imagine what this classic musical would look like if it was authentically Puerto Rican.

Carlos Rafael Rivera chatted with Beyond the Cinerama Dome to discuss his longtime friendship with Scott Frank, how Ozzy Osborne’s Blizzard of Ozz changed his life, and the ascending and descending melodies of Dept Q that serve as the backbone of the score.

The role of a cinematographer is one of the most misunderstood jobs in the film industry by the casual move fan. What does it mean to be the director of photography? Pedro Castillo virtually stopped by Beyond the Cinerama Dome to demystify the job.

The duo sat down with Beyond the Cinerama Dome to discuss their collaborative process, the role they see their score playing, and their other upcoming project, It’s Dorothy!, that is premiering at Tribeca next month

Dominik Scherrer sat down with Beyond the Cinerama Dome to discuss his roundabout road to becoming a composer, the unexpected difficulties of this score, and the rhythm he relies on to balance the differing emotions of the series.

Sam Hayes sat down with Beyond the Cinerama Dome to discuss the film’s North American premiere, the never-ending need for coming-of-age films, and everything that comes with growing up.