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everything secure. When I sat down with Stephen Soderberg, one of the first things he told me was

that he'd been listening to our podcast by way of research. It slightly unnerved me, but we hope you'll agree his homework served him well.

Such was the magnificence of the man's company.

I'm Edith Bowman and you're listening to Soundtracking,

the weekly podcast in which I speak to writers, directors, producers, actors and composers about the music in their work.

Remarkably, Stephen has been all of these things at one stage or another.

Specifically as a director, he's renowned for his use of both needle drop and score,

with Thomas Newman, Cliff Martinez, two of his go-to composers.

His latest project, The Fantastic Logan Lucky, sees him reunited with David Holmes, with whom he struck up a most fruitful relationship on the ocean films.

And it's with Logan Lucky, We Begin, and David's original score medley that

features on the original soundtrack to the film.

Music is integral to your filmmaking. It's such a big part of what you do. It always has

been but let's start now

with Logan Lucky because it's a wonderful soundtrack you've got on that both in terms of the score

that David's or his band have created, which I believe has got No Gallagher on guitar on there as well.

At what point do you start thinking about the music and does it become part of the conversation for you with your filmmaking

...