From Indie Rock Roots to Oscar Glory: The 2000s Musicians Scoring Big in Film

At this year’s Oscars, Daniel Blumberg took the stage to accept the award for best original score for his work on "The Brutalist." Wearing a simple black suit and reading nervously from his notes, the English musician reflected on his two-decade-long artistic journey, recalling his earlier days as the curly-haired singer and guitarist for the indie-rock band Yuck.

Blumberg’s recent accolade places him among a distinguished group of musicians who began in alternative rock and have found success in film composition. Notably, Trent Reznor and Atticus Ross, formerly of Nine Inch Nails, have won the same award twice, while Radiohead’s Jonny Greenwood has earned two nominations. Alongside Blumberg, several artists from New York’s early 2000s indie boom—an era defined by distinctive bands building careers through online buzz, critical acclaim, intense touring, and selective licensing deals—are now expanding into scoring for film.

Now entering their middle years, many musicians from that generation are embracing film scoring as a fresh creative avenue. This shift offers the flexibility to work from home studios and provides an alternative to relying solely on nostalgia-driven projects.

David Longstreth, the driving force behind Dirty Projectors, crafted the inventive and expansive soundtrack for the fantasy film "The Legend of Ochi," released in theaters by A24 this year. Paul Banks, frontman of Interpol, composed dynamic music for the deadpan satire "Sister Midnight," which premiered in New York in May and is set for wider release soon. Meanwhile, different configurations of Animal Collective have contributed atmospheric scores to indie productions, including the minimalist sci-fi movie "Obex," slated for release later this year by Oscilloscope Laboratories.

Christopher Bear of Grizzly Bear, now a prolific composer for film and television, described the process as creatively stimulating. He noted, "The most engaging creative discussions aren't always about musical references. Sometimes it’s more rewarding when they focus on the story, visuals, and broader aesthetic elements. Working in this collaborative environment pushes me to explore ideas I might not pursue alone in my studio."