Natalie Holt Latest Celebrity News & Gossip

Jon Burlingame Music has always been an integral part of the “Star Wars” universe, dating back to the John Williams scores for the original movie trilogy. So will Emmy voters recognize one, two or all three of the recent “Star Wars” TV series in the scoring categories? Vying for consideration: the 12-part “Andor,” with music by Emmy-winning, Oscar-nominated Nicholas Britell (“Succession”); the six-part “Obi-Wan Kenobi,” with a new theme by Williams and score by English composer Natalie Holt (“Loki”); and the eight-part third season of “The Mandalorian,” with music by Joseph Shirley. All aired on Disney+. Britell spent more than two years on “Andor,” the backstory of “Rogue One” hero Cassian Andor (Diego Luna), including several months creating music that was played on the set during filming – from the Time Grappler’s hammer-banging signals on Ferrix to the alien electronica in the clubs on Morlana and the amateur funeral band playing a dirge for Cassian’s mother in the finale.

Naman Ramachandran The London Action Festival has revealed a packed program for its second edition. Highlights of the first round of programming that has been unveiled include: Anatomy Of A Set Piece where The Raid franchise creator Gareth Evans and others to be announced will break down chosen set pieces from their works; a screening of “The Raid 2” + Q&A with Evans; The Showrunner’s Story, where, in association with World Productions, “Bodyguard” and ‘Line of Duty” Jed Mercurio creator will explore the work of a showrunner in the creation and production of shows; and The Villains of John Wick, in association with Lionsgate, where Mark Dacascos (Zero in “John Wick: Chapter 3 – Parabellum”) and Scott Adkins (Killa in “John Wick: Chapter 4”) – two of the most memorable villains from across the $425 million box office smash-hit John Wick franchise will discuss their work.

Mike Wass According to Netflix, the Skip Intro button is pressed 136 million times in a typical day. Moreover, the feature has been adopted by streamers industry-wide.

Zack Sharf It’s been two weeks since Warner Bros. announced it would not be releasing “Batgirl” in theaters or on HBO Max, instead opting to take a tax write-off on the $90 million comic book tentpole. In a new interview with Discussing Film, composer Natalie Holt called the studio’s decision to ax the film “a massive shame.” Holt, an Emmy nominee for her work on Marvel’s “Loki,” worked for a year on the “Batgirl” score and had 90 minutes of original music written when the news hit that the film was being shelved.“I had written about an hour and a half of music,” Holt said.

Billie Eilish and Finneas, who won an Oscar for their James Bond theme earlier this year, have been invited to join the Academy of Motion Picture Arts & Sciences.The Academy announced its complete list of 397 invitees to its board on Tuesday night (June 28). The 397 names include actors, directors, musicians, producers, film editors and more.It's time to announce our new members! Meet the Class of 2022.

For Loki, composer Natalie Holt knew that there were two tracks that were essential to the score. After creating themes for Loki and the TVA, Holt found her score easily branching out to create themes for the other characters as well.

Jon Burlingame editorAs the Marvel Cinematic Universe has expanded into television, its musical reach has also grown, embracing diversity both in terms of its composers and the music they make.English composer Natalie Holt (pictured above) brought unexpected sonorities to “Loki”; Cairo-based Hesham Nazih added specific Egyptian sounds to “Moon Knight”; and American composer Laura Karpman employed a traditional orchestra and choir on the animated “What If…?”“Loki is sort of a likable baddie,” says Holt, “a grand, Machiavellian, Shakespearean character, so I wanted some kind of gravitas, classical weight, to his theme.”Yet, in last summer’s six-part series, the Norse god of mischief (Tom Hiddleston) is also playing with time, which suggested more unusual sounds: the wailing of a theremin and its equally eerie French cousin, the ondes Martenot. “I’d been listening to [Lithuanian theremin virtuoso] Clara Rockmore and [BBC Radiophonic Workshop pioneer] Delia Derbyshire,” Holt explains.

Jon Burlingame editorWith “Obi-Wan Kenobi,” debuting Friday on Disney+, English composer Natalie Holt becomes the first woman to score a live-action “Star Wars” project, on the heels of her success with Marvel’s “Loki.”She spent four months on the project, including two months in Los Angeles recording with many of the same musicians who recorded John Williams’ new theme for the series, as revealed by Variety in mid-February.“It’s been such a fine balance, all the way along, finding the right level of ‘Star Wars’ homage, because we’ve got heritage characters,” she says, referring to Jedi Master Obi-Wan Kenobi (Ewan McGregor), Darth Vader (Hayden Christensen) and others, “and adding in new elements as well,” she says. “These heritage characters have big themes that everybody expects to hear when they get on screen.

“Obi-Wan Kenobi”: playing John Williams’ score while filming.McGregor has long joked about how much he struggled on the prequel trilogy with not making the sound effects himself while wielding a lightsaber, as has Anakin Skywalker actor Hayden Christensen. Both have poked fun at themselves over the years for ruining takes because they were making the iconic noises.

Tom Hiddleston is hitting the red carpet!

While discrimination in the workforce is improving for women and people of color, there’s still lots of work to be done. Take for example the world of film composers, a field that’s been dominated by men for years, with a few notable exceptions like Rachel Portman, Anne Dudley, Jocelyn Pook, and Lesley Barber.

While discrimination in the workforce is improving for women and people of color, there’s still lots of work to be done. Take for example the world of film composers, a field that’s been dominated by men for years, with a few notable exceptions like Rachel Portman, Anne Dudley, Jocelyn Pook, and Lesley Barber.

Jon Burlingame How do you score a show that tinkers with time, features a Norse god who is neither hero nor villain, and continually confounds the viewer with new mysteries?That was the challenge facing English composer Natalie Holt, who with her music for “Loki” becomes only the second woman to compose the dramatic score for a Marvel Cinematic Universe film or TV series (after Pinar Toprak, who scored 2019’s “Captain Marvel”).The music of “Loki” is a bold combination of a traditional orchestra

If, “How does it feel? Like it’s someone else’s,” was the starting point for the character exploration in “The Falcon & The Winter Soldier”— Steve Rodgers passing the shield to Sam Wilson, but the Falcon hero unsure if he’s worthy of the symbol— then, Frigga’s (Rene Russo) line to Loki in “Thor: The Dark World,” “Always so perceptive about everyone but yourself,” might be the keyline to understanding Marvel’s new Disney+ series “Loki” and the self-realization ideas it hopes to discuss.

Musicians have collaborated to produce a soundtrack to isolation.