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

that 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 and with Logan lucky in particular? No it always

starts very early in the case of Logan.

I was trying to describe to David the feel that I wanted

and the only word that I could come up with really was rusty.

He started to compile tracks for me to listen to, which he normally does,

but in this case, for whatever reason, the volume of material that he was turning over to me was significant,

...