About Film.Music.Media

Led by Kaya Savas, Film.Music.Media has grown into one of the premiere film music resources for aspiring storytellers and admirers alike. By taking a relaxed approach to film music journalism and letting composers tell their stories, F.M.M allows you to gain an appreciation of the craft as well as the talented people behind your favorite music across all visual media.

Film.Music.Media offers an unprecedented growing library of in-depth interviews, analytical reviews from a small core of talented writers, event coverage, behind the scenes looks, photo coverage and more of your favorite composers and their worlds of storytelling.

No other film music resource takes you into the studios with some of the best talent working in the industry for real, and in-depth conversations that yield amazingly engrossing conversations. Our interviews are meant to be less like traditional interviews and more like casual chats that often result in the most genuine answers from our guests.

Film.Music.Media is fueled by passion, appreciation and inspiration. We hope you find something worthwhile, and be sure to check back regularly for new and exciting content in the future.


Our Reviews:

The reviews on Film.Music.Media are designed to be brief analyses rather than critiques. Since there is no right or wrong way to make a movie, each score will be looked at solely within the context of the film, TV series or game that it was written for. We do not review soundtrack albums, we review scores. Film.Music.Media was designed to look at scores from a filmmaking perspective, never a "listeners" perspective. Album presentation or how pleasant a score is to listen to has no weight on our analyses. Scores are meant to be narratives that accompany the picture onscreen, and we review them as such. We also try and keep it brief. Scores are meant to be listened to, so we try to not take up too much of your time with our personal views. And these are indeed the personal views of whomever is reviewing. Feel free to disagree or agree, compare it with your own views. Music for visual media is like food, we all have individual preferences. We do not stack up and compare each score to other scores that are deemed "the greatest of all time", or to our own personal preferences. In order to properly analyze a score's effectiveness we may compare/contrast it to similar scores in the same genre or same style. And to support composers as auteurs, we always like to look at scores and how they fit into someone's body of work. But our reviews will never be "it's not as good as their other score to [Insert Title Here]." We always make an effort to see the film prior to reviewing, but of course that is not always possible. In cases where we cannot see the film beforehand, anyone who is reviewing has enough experience to be able to listen to a score and find the narrative shape. If a score in its album form is tricky to map out structurally and/or stylistically (i.e. an atmospheric horror score, or a shapeless tonal score), then we will not review it till it has been seen in context. This may also be the case for newer composers where the reviewer may not be familiar with their techniques or approaches. In the end, it's all about how well the music was able to tell the story and resonate with the audience.


Our Interviews:

The interviews on Film.Music.Media are designed to be more like a casual discussion. We aim to rub off the polished PR feel with interviews. Our All Access interviews are even less structured, with no pre-written questions. By keeping the conversation fluid, we hope it feels more like a casual chat rather than a stiff interrogation. Our aim is always to make sure our guests have fun discussing their work and other industry topics so that you'll get the most genuine answers.

The Team

Kaya Savas: Founder / CEO

Head Writer / Interviewer

Movies and music have always a part of my life from a very young age. I saw Fantasia before I could even walk, and maybe that wired my toddler brain to hone in on how music and image worked together. As I grew older it was always the music from movies that captivated me, and I would ask my parents for the “music from movies”. I recall getting a cassette tape of Jurassic Park to listen to when I was 6. A few years later I fell in love with the soundtrack to The Rock at age 9, and wore out that cassette in my Sony Walkman. As I got to my preteens I paid closer attention to the names on the soundtracks and then to the names in the film’s credits. I started to amass a collection of CD's which of course opened me up to every other amazing composer and their work.

It set me on a path that led me to pursue filmmaking as a career. I strangely never wanted to become a musician or a composer, but the idea of working with a musician to marry image and music to tell a story was always what connected to me. It's how I discovered directors, editors and cinematographers.

I believe music is one of the most essential parts of visual storytelling, if not the most essential part. The fact that we take soundtracks away from the films they were written for to listen to is a testament of their power. I also find film scores an endless source of inspiration for working filmmakers in any other field such as writing, editing or directing.

I’ve been writing for various online publications throughout high school and college including being a featured reviewer on MovieWeb.com and on DVDivas.net. I created the Film.Music.Media Blogspot in 2009 as a place where I could focus my writing on film music. The blog gained some traction and I decided to launch it into a full site. While I enjoy writing about film music, I thought that it was the point of view of the composers themselves that was the most important. So I set out to make Film.Music.Media an ever-growing library of composer interviews that would hopefully provide insight and inspiration to people around the world, while giving composers a platform they never had before.

Film.Music.Media has now grown into the premiere film, TV and game score resource in the industry and I couldn’t be more thankful to all the readers, viewers and listeners that helped it grow.

I graduated from Towson University in 2009 with a Bachelor’s Degree in Electronic Media & Film. I spent 6 years working as a 35mm projectionist before moving to Los Angeles in 2010. I worked at Walt Disney Studios for 4 years doing asset management for Home Entertainment with some amazing people. I made the leap to production and have been working at Cartoon Network Studios since 2015 as the studio production asset coordinator. In the past I have written and directed a few short films, but working full-time in studio production has become a career priority for me. In addition to running Film.Music.Media, I am also the editor of The Score Magazine for The Society of Composers & Lyricists, which provides even more in-depth articles and interviews specifically for working composers in the industry. I live in Burbank with my amazing wife, Sarah and our awesome dog Indy.

Leo Mayr

Writer

I can't really put into words why and how film music is so special to me. Music has always been a part of my life, and I do remember noticing film music way before I actually got addicted to it. I got into movies through the Star Wars prequels and Pirates Of The Caribbean, so those were the earliest scores I actually owned because I wanted them. (Randy Newman's Cars doesn't count, I mistook it for an audiobook at the time...)

With an increase in cinema visits in early 2012 I became addicted. Since January of 2012 I have been to the cinema over 250 times and have hoarded about 600 soundtrack albums on my phone. (I am also fond of statistical numbers)

In the cinema, I can hear music where most people don't even notice it, and on some occasions, I can tell which parts of the score are absent from the album and where a second of music has been cut out of a track. What fascinates me a lot about film scores is the attention to detail put into it. Themes reappearing where most people in the audience won't even notice the score, fun bits of instrumentation blocked completely by a loud explosion or small nods to other scores.

And of course how a score can be perfectly in sync with a scene and still sound good on its own. And I'm not just talking about scenes like "Duel Of The Fates" (The Phantom Menace) and "Married Life" (UP). I enjoy scenes like "Battle Royale" (The Lego Batman Movie) or "Confrontation On Eadu" (Rogue One) at least as much. For me, nothing beats the sound of a large orchestra going all out for an action piece... maybe except for an equally large choir...

Koray Savas

Writer

There is really only one thing you need to know about me: I live and breathe film. It is that rare form of entertainment that trumps reality so effortlessly. The silver screen is a portal into other universes, ones that make us laugh, cry, jump in our seats, and even reflect on ourselves as people. I do not discriminate based on year, country, or genre; any film has the potential for greatness and I embrace filmmakers that step outside the box and challenge us as an audience.

While there are many factors that led to this obsession with the medium, it can more or less be traced back to a handful of films and their scores. Jurassic Park and The Nightmare Before Christmas in 1993 were the two films that initially started it all, and as the years went by, movies like The Rock, Face/Off, The Fifth Element, GoldenEye, and Gremlins never stopped playing in my house. The Medal Of Honor video game series was an early favorite, and Michael Giacchino's brilliant scores for those deserve as much credit as anything else. I started my film score collection roughly around 2002, with Elfman's Spider-Man, Howard's Signs, Williams' Attack Of The Clones, and Newman's Road To Perdition being some of my first CDs. In the past 10 years I have amassed a collection of over 400 scores, and it continues to grow. These composers and the films they scored sparked my imagination as a child, and I cannot imagine where I would be without having experienced them.

Legal Info:

All music and images on Film.Music.Media (including on social media channels) are owned by their respective copyright owners. Music and images are used with permission for promotional and informational purposes only. Photo credit is given when applicable. Film.Music.Media does not solicit or promote piracy, and is against the illegal distribution of copyrighted music. We will not respond to inquiries requesting footage or music featured on Film.Music.Media. Thank you.