Pedro Bromfman

Multi-award winning powerhouse composer and two time Cinema Brazil Grand Prizes nominee shares about honoring the rich tradition of Latin-American music in an electronic world, balancing the beauty and darkness for Narcos, and why he believes he was made for film scoring.

Film/TV ComposersRuby Gartenberg, Paul GoldowitzJanuary 18, 2018Paul Goldowitz, Ruby Gartenberg, Pedro Bromfman, Narcos, Elite Squad, Robocop, The Story of Us with Morgan Freeman, Chain of Command, Netflix, National Geographic, White Bear PR, Thumper, Park City Film Music Festival, ASCAP, ASCAP Award, Cinema Brazil Grand Prizes, Hollywood Music in Media Awards, ACIE Award, Premio Contigo! De Cinema, Berklee College of Music, Moacir Santos, John Coltrane, Miles Davis, Joe Pass, Wes Montgomery, Hermeto Pascoal, Guinga, Tom Jobim, Joao Gilberto, Cinema Paradiso, Ennio Morricone, UCLA, Jimi Hendrix, Chick Corea, Milton Nascimento, Wayne Shorter, Herbie Hancock, Pat Metheny, Peter Gabriel, Logic, Pro Tools, Digi 001, Latin Recording Academy, Pablo Escobar, Colombia, Medellín, Cali, Kontakt, Liza Richardson, Eric Newman, Gaumont, Prologue, Cassio Duarte, Manu Delago, Jeff Russo, Television Academy, Fargo, David Buckley, The Good Fight, José Padilha, City of God, Berlin Film Festival, Nat Geo, Sundance Film Festival, End Of The Line, 3

Liza Richardson

Award winning music supervisor, Mad Doll Music founder, and longtime KCRW radio DJ discusses memorable syncs from Narcos and Hawaii Five-O, workplace harmony, and her love of animals.

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