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“The White Lotus” may have already won three Emmy Awards for its iconic music and score — and that’s before the current third season has even become eligible — but composer Cristóbal Tapia de Veer just revealed that he will not be checking back in for Season 4.

In fact, the theme song musician said he shared the news of his exit with the team behind the HBO anthology series months ago and his decision apparently all has to do with creative differences with creator Mike White: “We already had our last fight forever.”

“I feel like this was, you know, a rock ‘n’ roll band story,” Tapia de Veer told The New York Times in an interview out Wednesday. “This is like a rock band I’ve been in before where the guitar player doesn’t understand the singer at all.”

“It’s kind of weird right now because I...

Nominees in the categories of discovery of the year, public choice award and the new game music award have been revealed.

Film Fest Gent and The World Soundtrack Academy has unveiled the second and final wave of nominations for the 2023 World Soundtrack Awards, which will take place on October 21 at the Film Fest Gent in Belgium, with Golda, Avatar: The Way Of Water and The Menu among the additional titles represented.

Nominations for discovery of the year, public choice award, Wsa game music award, best original score for a Belgian production and the Sabam Award for best original composition by...

John Williams, Nicholas Britell and Taylor Swift are all nominated

John Williams, Nicholas Britell and Taylor Swift are among the first wave of nominees for the World Soundtrack Awards (Wsa) 2023.

The winners will be announced at the 23rd edition of the World Soundtrack Awards on October 21 at the Film Fest Ghent in Belgium, during which the annual celebration of film music is held.

Williams is nominated in the film composer of the year category for his work on The Fabelmans and Indiana Jones And The Dial Of Destiny. The veteran composer is up against Volker Bertelmann who won the Oscar...

Some of today’s most talked-about film and TV composers walked off with Composers Choice Awards at Tuesday night’s annual Screen Music Awards of the American Society of Composers, Authors and Publishers (ASCAP) in West Hollywood.

Michael Abels won Film Score of the Year for Jordan Peele’s sci-fi horror movie “Nope.” Cristobal Tapia de Veer and Kim Neundorf won Television Score of the Year for HBO’s black comedy “The White Lotus” And Bear McCreary won Video Game Score of the Year for Sony Interactive’s acclaimed “God of War: Ragnarok.”

In a tie, Documentary Score of the Year went to both Amanda Jones for the National Geographic nature series “Super/Natural” and Jeff Cardoni for HBO Max’s skateboarding doc “Tony Hawk: Until the Wheels Fall Off.” Cristobal Tapia de Veer also won a second award for Television Theme of the Year for “The White Lotus.”

Composers Choice...

The first five episodes of this season of “The White Lotus” have involved a high number of bad decisions in beautiful locations and the series’ signature angst over wealth and privilege. But it’s not until the end of Episode 5, “That’s Amore,” that the show reveals an appropriately operatic twist — spoilers ahead — with Tanya’s (Jennifer Coolidge) discovery of expat Quentin (Tom Hollander) in flagrante delicto with his nephew Jack (Leo Woodall) in the elder’s Palermo palazzo.

To be fair, Jack was introduced to Tanya and her assistant, Portia (Haley Lu Richardson), as naughty, but this new devilry is very much in the details. So is the show’s artistry, and it took a team effort on the part of the show’s camera, sound, and music to accentuate the horror of what Tanya finds and cinematically set the stage for the final two episodes of the season,...

There's a lot to like about "The White Lotus," between its sharp writing, superb casting, and incisive criticisms of the richest folks in our society. But one part of the show that's been a standout since its premiere has been its score.

Composer Cristobal Tapia de Veer's score in the show's first season was heavily percussive and intense, creating an atmosphere of tension highlighted by its Hawaiian tribal accents. It made every scene feel almost scary, like every scene was about to be interrupted by a sudden tiger attack. The show used the music's intensity to turn every one of the character's social interactions into more animalistic encounters, playing off one of the season's main themes, that humans are deep down just monkeys.

The show's second season, which is now two episodes deep, has been a big shift from the first. With an almost all-new cast and a brand-new location,...

Cristobal Tapia de Veer, who tapped into the sonic experience of Internet Age anxiety with the main theme for the first season of “The White Lotus,” wasn’t supposed to work on the show. Logistically, he was busy composing a snarling, delightfully unsettling score for the horror film “Smile”; thematically, the Season 2 jump from Hawaii to Sicily meant adjusting the dials on how the series presents its honey-trap of power and privilege in the titular 5-star resort. But “The White Lotus” couldn’t quite get away from Tapia de Veer’s work, and neither could he.

“They asked me to at least revisit the main theme,” Tapia de Veer told IndieWire. “Mike [White] told me some influences to fit in this new [season] in Italy, in Sicily, and that it would be nice to add some renaissance or Italian opera, or some renaissance instruments.” Tapia de Veer’s expertise with weaving vocal...

Chances are if you were watching HBO on Sunday nights last summer, you grooved to the most earworm-y main title music since “Mad Men” and wondered who blended those percussive beats to the haunting choral wails you just couldn’t get enough of while the cast’s names unfolded onto a palette of wallpaper seemingly blooming to life in sync with the main theme.

That would be the Chilean-born, BAFTA-winning composer Cristobal Tapia de Veer, who was tapped by writer-director Mike White to score his suspenseful, Hawaii-set look at the downsides of white privilege and fraught vacationing. It proved to be a splendid match, though Tapia de Veer was not completely familiar with his oeuvre at first.

“I knew ‘School of Rock,’ but I never saw it,” Tapia de Veer said over a recent Zoom call. “But I knew his face, and I started to watch his [HBO series] ‘Enlightened,’ and I...