Who Composed Mistress America'S Soundtrack And Score Credits?

2025-10-27 03:09:44 152

7 Jawaban

Liam
Liam
2025-10-28 04:57:35
I like to nerd out about how music informs character, and with 'Mistress America' the composer credits point right to Dean Wareham and Britta Phillips. Their musical pedigree (you can hear traces of the dreamy, reverb-soaked indie textures from their band days) translates into cues that are both melodic and conversational, supporting scenes rather than shouting over them.

Structurally, the score acts as a kind of emotional narrator: short motifs reappear to signal shifts in mood, while sparser pieces let dialogue breathe. The soundtrack release highlights their instrumentals alongside a few well-picked songs that Baumbach uses as sonic punctuation. If you compare it to broader film scoring trends, it’s refreshingly low-key — more about atmosphere and character than bombast. I appreciate how it complements the film’s mixture of whimsy and awkwardness; it feels lovingly tailored to the story.
Yasmin
Yasmin
2025-10-28 06:06:52
I got totally hooked by the soundtrack for 'Mistress America' the first time I watched it, and I dug into the credits because the music felt like a character of its own. The original score for the film was composed by Alex Wurman — his cues give the movie that quirky, slightly cinematic-but-still-indie feeling that fits Noah Baumbach’s rhythm. Wurman’s work sits under the dialogue in a way that nudges the scenes without ever overwhelming them, and that delicate balance is what I loved most.

Beyond the original score, the movie also uses curated licensed tracks and source music, and those pieces are handled in the credits under music supervision. The music supervisor listed on the project is Randall Poster, who often brings together eclectic song choices to match a director’s tone. In the end credits you’ll see the split: ‘Original Score by Alex Wurman’ followed by the music supervisor and the list of licensed songs and performers that appear in the film. For me, the interplay between Wurman’s score and the licensed songs is what makes 'Mistress America' feel alive and lived-in, and it’s why I still find myself replaying a few of those moments in my head.
Xanthe
Xanthe
2025-10-28 13:52:40
Picked this film up again recently and, for anyone wondering who did the music, the original score is by Alex Wurman. He provides the instrumental backbone — little motifs and subtle themes that guide the film’s mood without stealing the spotlight. On top of that, the soundtrack includes a number of licensed tracks assembled by the music supervisor; that role is credited to Randall Poster, who ties the whole audio palette together.

So the credits break down cleanly: ‘Original Score by Alex Wurman’ and then the list of songs and performers compiled under music supervision. I like how the score and chosen songs play off each other; the music doesn’t shout, it complements, and that restraint is exactly why the movie’s soundscape stays with me long after the credits roll.
Stella
Stella
2025-10-30 18:03:43
The short version is: the credited composers for 'Mistress America' are Dean Wareham and Britta Phillips. They handled the original score, giving the movie that intimate indie vibe — guitars, warm synth pads, and delicate arrangements that underline the film’s mix of comedy and bittersweet moments.

Beyond their original cues, the film’s soundtrack also uses a handful of preexisting songs to set tone and time, but when people talk about the score itself, it’s Wareham & Phillips who get the composer credits. Their background in indie-rock really colors the sound, making it feel more like a small, personal soundtrack than a big orchestral affair, which suits the film’s intimate, character-driven storytelling — I dig that approach.
David
David
2025-10-30 20:08:44
Whenever I put on 'Mistress America' the music is one of the first things that hooks me, and that’s because the film’s original score is credited to Dean Wareham and Britta Phillips. They bring that warm, slightly wistful indie-pop texture to the soundtrack — think gentle guitars, understated melodies, and a kind of everyday-romcom melancholy that matches Greta Gerwig’s energy perfectly.

The soundtrack album mixes their instrumental cues with a handful of licensed songs that color scenes in a retro and quirky way, but the backbone of the movie’s sonic identity is Wareham & Phillips’ work. If you like the soft-angled, late-night feel of Luna and Galaxie 500-era guitar work, you’ll notice how that sensibility threads through the score. It’s one of those soundtracks that sneaks into your head long after the credits roll — cozy, slightly jaunty, and oddly comforting in its imperfections. I still hum a little of it now and then.
Mckenna
Mckenna
2025-10-31 23:28:47
I’m always the kind of person who notices every musical cue in a movie, and with 'Mistress America' I flagged the credits right away — the score is officially credited to Alex Wurman. His compositions provide the underscore that shapes the movie’s emotional undercurrent: light, witty, occasionally melancholic, and very attuned to the characters’ pacing. Wurman’s approach isn’t flashy; it’s more about texture and timing, which fits the film’s conversational, New York-ish energy.

The rest of the soundtrack is a mosaic of licensed songs and source music, and those are organized in the end credits under music supervision. Randall Poster is the supervisor for this project, which makes sense because he frequently curates film soundtracks that feel both familiar and oddly perfect for the scene. If you scan soundtrack listings on film databases or the film’s closing credits, you’ll see a clear separation: original score by Alex Wurman, and then the catalog of songs used, along with their performers and publishing credits. Personally, I find that compositional + curated-songs combo makes 'Mistress America' one of those films where the music keeps sneaking back into my playlist.
Faith
Faith
2025-11-01 01:24:50
I love how 'Mistress America' sounds, and the composing duo on the credits are Dean Wareham and Britta Phillips. Their score is a neat match for the movie’s tone: intimate, indie-leaning, and full of little melodic flourishes that make scenes feel lived-in. Instead of heavy orchestral swells, they use simple textures and guitar-based lines that echo the characters’ messy, charming lives.

The soundtrack also includes licensed songs to spice things up, but the original music credit goes to Wareham & Phillips, whose work gives the film its unmistakable indie-pop heartbeat. It’s the kind of soundtrack I’ll put on when I want something mellow but thoughtfully arranged — pleasant company for a rainy afternoon.
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