Following a string of seasoned movie makers such as Luke Besant,

Doug Lyman and Stephen Soderberg, we bring you a relative novice this week in the shape of Benedict Andrews,

at least a novice in cinematic terms.

For Benedict is one of the world's foremost theatre and opera directors, who makes the transition to the screen with psychological thriller Una.

I'm Edith Bowman and you're listening to Soundtracking, the podcast in which we delve into the world of film music.

Given this is Benedict's first film, much of our conversation focuses on the differences between the mediums in which he's worked.

It also gives us an opportunity to play you examples of music from his stage productions,

including extracts from Alex Barnoski's smoky cinematic score for streetcar named Desire, which starred Gillian Anderson.

Indeed, the cue you can hear now is Alexey's quirky interpretation of the Versuviana Polka,

which Tennessee Williams specifically wrote into the directions of the play.

But there's plenty to discuss when it comes to Una 2.

Starring the ever-excellent Runii Mara and Ben Mendelsso.

The narrative centres on a woman confronting an older man about an illicit sexual relationship which took place in their past.

The film is scored by Benedict's friend Jed Curzo, whose work we discussed at length during a previous show with Jed's brother Justin. Jed has developed a reputation as a composer of serious weight,

as evidenced by the fact he and the London Contemporary Orchestra

recently provided the music for Ridley Scott's Alien Covenant.

Hardly surprising then that Benedict turned to his old mate

on taking the plunge from stage to screen.

Benedict, thank you so much for your time.

You have this wonderful world of creativity that I want to dive into

and talk about how music relates to it, if you wouldn't mind.

For sure, I love it.

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