KPop Demon Hunters & Andor Composers Reflect On Their Acclaimed Collaborations At The SCL Awards

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Ebaster recently went to the SCL Awards in Hollywood, where he met many famous composers and songwriters. The awards show, hosted by Kevin and Michael Bacon, celebrates the best music in film and television. Some of the shows and films honored this year included Sinners, KPop Demon Hunters, and Train Dreams.

Ebaster attended the event and spoke with several nominees, including Diane Warren, a songwriter nominated for 17 Oscars, Mark Sonnenblick, who co-wrote lyrics for the film KPop Demon Hunters and has been nominated for an Academy Award, and Brandon Roberts, the Emmy-nominated composer of Andor. They discussed their musical work, who they collaborate with, and what inspires them.

Mark Sonnenblick Embraced The Spirit Of Collaboration On KPop Demon Hunters

There have been a lot of major musical films released this year. What’s it been like working on one during this resurgence of the genre?

As a huge cinema fan, I thought this year was incredible, especially for musicals! There were so many films that really used music to tell their stories, and the soundtracks weren’t just popular – they felt completely woven into the narratives. Coming from a musical theatre background, I especially loved seeing a full-blown musical like Wicked: For Good on the big screen. KPop Demon Hunters was a fun, unique blend of musical and pop, and Sinners was just beautifully done, with music and story working perfectly together. It’s a really exciting time for movie musicals!

The song “Golden” received a lot of award nominations this year. I’m curious, did you ever consider submitting a different song instead?

Fans actually discovered most of the soundtrack, including the song “Golden.” While “Your Idol” quickly became a chart-topper, “Golden” followed closely behind. It was almost like the storyline of the music was mirroring real life, with everyone wondering if Huntrix would surpass the Saja Boys.

For me, “Golden” is the song that truly stayed with me and connected with so many others. It’s perfectly placed in the film during a really pivotal moment for Rumi – her story is honestly the core of this beautiful movie Maggie [Kang] and Chris [Appelhans] created. It really feels like all their vision came together in that one song and her journey.

Being able to express a central story element through a song that resonates with listeners—that’s a big part of why everyone working on it felt confident it would be a standout track and something people would really connect with.

SR: What was the biggest surprise you experienced during the production of KPop Demon Hunters?

What really stood out to me about this movie, even during its early stages, was the amazing teamwork. The directors, Maggie Kang and Chris Appelhans, had a clear vision for the story and were immediately inspired by the tale of Rumi. It wasn’t just about the story itself, but the collaborative spirit that brought it to life.

This person had learned to suppress and even despise a part of who they were. Being able to share that experience with such talented K-Pop songwriters – Black Lebel, EJAE, Steven Kirk, and Jenna Andrews – was amazing. I didn’t know any of them before, I just admired their music.

Ian Eisendrath was the key music producer for the entire album, and really at the heart of the whole project. He’s a friend who invited me to participate, promising a true collaboration, which I found incredibly exciting. Over the months and years, what consistently surprised me was how collaborating with people from diverse backgrounds allowed us to create something truly special and bigger than any of us could have achieved alone. I think this film perfectly demonstrates that.

Andor’s Brandon Roberts Really Wants To See A Star Wars Horror Movie

How did you create the music for this season, building on the work Nicholas Britell did in season one, while also fitting into the overall musical history of Star Wars?

When I started, I was definitely scared, but you have to push through and just focus on the task at hand, one step at a time. I was really fortunate to have Tony Gilroy guiding me; he had a very clear vision for the project. It felt like I was joining something already excellent – a ship that was already sailing smoothly. The writing and production were already top-notch, and I saw my music as the finishing touch.

That experience allowed me to experiment with musical styles I hadn’t realized I was capable of. It was a genre that inspired many of my fellow musicians, so I was very conscious of its history. I really focused on creating something that would feel like a complete and connected story, even long after I’m gone, bridging the gap between the first and second seasons.

Andor is a very ambitious show, with a large scope and scale. How did you manage to find the right tone for it?

The performances and script felt very natural, making the genuine human connections easy to see. My biggest challenge was actually holding back – I often try to emphasize things too much. But Tony Gilroy, the writer and director, prefers a subtle approach to emotional scenes. He wants the story to speak for itself, and the music to enhance it, not overwhelm it.

The larger, more impactful scenes were often saved for key Star Wars elements – establishing planets and so on – and he was happy with that. [Laughter] But when it came to extensive dialogue and emotionally charged scenes, he strongly preferred letting the story unfold naturally through the show itself. I learned a lot from that approach. It was definitely challenging balancing the huge scale of battle sequences with the quiet, personal moments and dialogue.

SR: If you could play in any other corner of the Star Wars franchise, what would you want to do?

I’m really interested in working on a horror-themed Star Wars project. I’ve seen some online discussion about it, and it feels like a perfect fit for me. I have a strong background in horror film scores, and now that I’ve also worked on Star Wars, combining the two would be amazing. Just letting you know I’m definitely available if that ever becomes a possibility! [Laughter]

Dianne Warren’s “Dear Me” Was All About Reaching Out To Her Younger Self

When you write a song about your own life and experiences, how is that different from writing about other topics?

When I write songs for films, I aim to capture the emotional core of the story. But writing for a documentary about me was different – it made me think back to my childhood. I was a lonely, bullied kid who mostly stayed in my room playing guitar. I often felt invisible, unheard, and pretty unhappy, like everyone was against me.

I set out to write a comforting message, like a letter to a young girl, assuring her that things would be alright. Surprisingly, this very personal song has resonated with far more people than anything else I’ve created. I think it’s because we all share similar experiences – nobody gets through growing up without some scars. This song isn’t just about my past; it’s for anyone who can relate, for everyone who’s ever felt that way.

SR: What surprised you the most about that process?

I always believed that understanding the core of a film would be key. It’s funny, the song I ended up writing turned out better than I expected! I anticipated a difficult process, but I found myself incredibly inspired by the desire to connect with my younger self. I was actually surprised by how naturally it came together.

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2026-02-10 20:34