The American composer Emile Mosseri creates evocative, delicate soundscapes for film and television. In recent years that’s included Kajillionaire, The Last Black Man in San Francisco and Minari, for which he received an Oscar nomination. His scores quietly stir something in the viewer, informing how we understand and interpret what we’re seeing on screen. Here he reveals how the composer is an essential player in helping a director bring a story to life. Tara Joshi: How did you get into writing music for films? This story is from Kinfolk Issue Fifty Buy Now Related Stories Music Issue 50 Caroline Polachek “The thing that eats at me a little bit is how subjective my music is.... You can’t get away from ‘Caroline Polachek.’” Music Issue 50 Odd Jobs Molly Lewis, professional whistler. Music Issue 49 Tove Lo The pop star reflects on the big feelings behind her biggest hits. Music Issue 49 Róisín Murphy Five questions for an art-pop icon. Music Issue 46 Hun Choi DJ Hunee outlines his dance floor philosophy. Music Issue 46 Lil Silva A superstar collaborator steps into the spotlight.
Music Issue 50 Caroline Polachek “The thing that eats at me a little bit is how subjective my music is.... You can’t get away from ‘Caroline Polachek.’”
