Hi folks, welcome along to another episode of soundtracking with me, Edith Bowman.

Thank you so much for taking the time to listen to my weekly podcast where I dive into the world of film and music.

I hope this finds you well. I'm not going to lie, I'm a little fatigue today from staying up later than I should have because I had work watching the Oscars last night. I thought the

ceremony was brilliant. I really liked the kind of format of it. I love that orchestra and how they

used them around the sound award categories. Well, it was great, I thought. I thought it was really,

really great. In terms of the winners, I mean, I don't want to take away from anyone.

There are just a few things I would like to have seen pick up awards.

I'd love Elvis to have got some.

I'd have loved Banshees of and is Sharon to get some as well.

But that's not to take away anything from any of the winners who were so deserving.

And it was great to see Alquiet.

It was great to see Volker pick up that Oscar for his tremendous score for All Quiet on the Western Front.

But Oscars aside, another episode of the podcast and our latest guest on soundtrack and his composer Rachel Portman.

Now, Rachel's just released a beautiful album

of her film music reversioned and performed by her and it's called Beyond the Screen. Film

Works on piano and it is a very beautiful thing indeed. And that's the kind of reason I wanted

to put Rachel out today because I'm sure many of you know,

Rachel was the first ever woman to collect an Oscar for composing for Emma back in 1996.

How crazy is that that it took that long for a female composer to be recognised by the Academy?

And the slightly crazy thing as well on top of that

is that there's only been a few other female composers

who have picked up awards since then.

...