The New Yorker Radio Hour: "John Carpenter Picks Three Favorite Film Scores"
Date: October 14, 2025
Host: Adam Howard
Guest: John Carpenter
Episode Overview
This episode features filmmaker and legendary composer John Carpenter in conversation with The New Yorker Radio Hour’s Adam Howard. They discuss Carpenter’s musical upbringing, his transition from film directing to live music performance, and, significantly, Carpenter’s personal selection of three film scores that have most inspired him: Forbidden Planet by Louis and Bebe Barron, Pirates of the Caribbean: Dead Man’s Chest by Hans Zimmer, and Vertigo by Bernard Herrmann. Through candid anecdotes, personal memories, and illuminating opinions, Carpenter provides listeners with a unique window into his creative process and influences.
Key Discussion Points & Insights
1. Carpenter’s Musical Roots (02:36–03:22)
- Musical Household: Carpenter’s father was a music PhD, and music was central to his upbringing.
- Adam Howard: “Your father was a very accomplished musician. …I imagine you grew up in a very musical household.”
- Carpenter (02:45): “Yes.”
- Adam Howard: “Your father was a very accomplished musician. …I imagine you grew up in a very musical household.”
- Early Aspirations: Carpenter played bass in a psychedelic band called ‘Kaleidoscope’ during his high school and early college years.
- John Carpenter (02:52): “When I was a senior in high school, and then my first year in college, I was playing in a rock and roll band... But my first love was movies.”
2. Transition to Film Scoring (03:38–04:29)
- Scoring Out of Necessity: Carpenter began composing scores for financial reasons, but his creative passion grew, especially with Escape from New York.
- John Carpenter (03:57): “Probably Escape From New York. I realized, you know what? I can do something here that contributes creatively.”
- Process of Composing: Music comes after editing — it’s a practical ‘utility job,’ not something imagined during writing.
- John Carpenter (04:29): “After everything is cut together...Then I go to the music. It’s purely a utility job.”
3. The Influence of Synths and Electronic Music (04:42–06:13)
- Early Inspiration: Switched-On Bach and, most powerfully, the all-electronic score for Forbidden Planet (1956), composed by Louis and Bebe Barron, made a lasting impact.
- John Carpenter (04:56): “There was a movie, 1956, had an all electronic score. It was called Forbidden Planet...It’s astonishing. I still listen to that score.”
- Electronic Music’s Power: The visceral, frightening effect of early synthesizer scores inspired Carpenter’s minimalist style.
- Quote (06:04): “That what you just played is scary. Scary as hell. Are you kidding me? I mean, that's what influenced me.”
4. The Art of Film Scoring (06:30–07:07)
- Philosophy: Composer’s job is to serve the movie, responding to the director’s needs, supporting and enhancing the story.
- John Carpenter (06:35): “The composer is there to service the movie and to...what the director asks of him...It’s there to support and enhance and open up doors so you can see the story a little bit better.”
5. Admiration for Other Composers: Hans Zimmer (07:16–08:53)
- Zimmer's Brilliance: Carpenter singles out Hans Zimmer as a modern master.
- John Carpenter (07:16): “Two words for you. Hans Zimmer. He’s incredible...He is one of the masters now.”
- Favorite Zimmer Scores: Notably, Pirates of the Caribbean: Dead Man’s Chest (“Jack Sparrow’s theme…legendary”) and Crimson Tide.
- John Carpenter (08:27): “Jack Sparrow’s theme, which is just legendary. I mean, you hear it and you know what it is.”
- On Crimson Tide: “Oh, it’s fantastic score. And he just blossomed from there.”
6. Live Performance and Family Collaboration (12:24–14:16)
- Performing on Tour: Carpenter describes the joy of performing live as a contrast to the stress of directing.
- Quote (12:38): “It’s a transition from pain to joy.”
- Collaborating with Son and Godson: Carpenter performs and composes with his son Cody and godson Daniel Davies.
- John Carpenter (13:34): “We bring different things to the table. Daniel Davies is a, he’s an adventurer...Cody is a maestro...And then me, I’m bringing experience because I’ve done so many scores.”
7. “Lost Themes” Albums and Working Together (13:34–14:16)
- The trio’s partnership on new Halloween scores, Firestarter, and in creating cinematic music as a standalone experience.
8. Bernard Herrmann’s Vertigo (15:28–16:04)
- One of Carpenter’s Favorite Film Scores: Herrmann’s Vertigo is praised for its haunting beauty and its inseparable connection to the film’s atmosphere.
- John Carpenter (15:28): “Vertigo is one of the great movies achievements in cinema...It is just a bad dream. It’s like a nightmare you’re watching. And the music...is astonishingly beautiful, but sad and creepy at the same time.”
Notable Quotes & Memorable Moments
- On the Joy of Performing:
- John Carpenter (12:38): “It’s a transition from pain to joy.”
- On Electronic Film Scores:
- John Carpenter (06:04): “That what you just played is scary. Scary as hell. Are you kidding me? I mean, that's what influenced me.”
- On Hans Zimmer:
- John Carpenter (07:16): “Two words for you. Hans Zimmer. He’s incredible. He is one of the masters now.”
- On Bernard Herrmann’s Vertigo:
- John Carpenter (15:28): “It is just a bad dream. It’s like a nightmare you’re watching. And the music…is astonishingly beautiful, but sad and creepy at the same time.”
Timestamps for Key Segments
- Musical Upbringing & Early Band — [02:36–03:22]
- Scoring as Necessity & Creative Outlet — [03:38–04:29]
- Influence of Electronic Music & Forbidden Planet — [04:42–06:13]
- Carpenter’s Approach to Scoring — [06:30–07:07]
- On Hans Zimmer & Favorite Scores — [07:16–08:53]
- Transition to Performing Live — [12:24–12:42]
- Family Collaborations & Lost Themes — [13:18–14:16]
- Admiration for Bernard Herrmann’s Vertigo — [15:28–16:04]
Tone and Style
John Carpenter is dry, direct, and self-effacing, often minimizing his influence on other artists and focusing on his own inspirations and collaborators. The multi-generational and collaborative spirit is warm, and his opinions on both genre-defining scores and the practical realities of movie-making are refreshingly candid.
This episode offers a unique, insider perspective on the artistry of film music, linking Carpenter’s own creative process to a wider tradition of cinematic innovation and influence. For listeners, it’s a rare treat: one master laying bare his influences, methods, and continuing excitement for the craft.