Ludwig Goransson

I'm always trying to experiment and come up with new palettes of sound and new combinations of music that you haven't really seen or heard in film before.

One of the first things I want do when I start writing music for a film is to create its own sound world, its own music world.

I think, for me, a way to really come up with new ideas and come up with new ways of writing music is to create a unique sound palette or soundscape for all the films I'm working on.

Needless to say, I like to create a unique sound for each project I do.

I just want to say, creating music with Childish Gambino has been one of the greatest joys of my life.

When I'm working with an artist, my job is to make their vision come to life.

I'd say for a film composer, 'Star Wars' is kind of like the holy grail of film music. It's probably the best film music ever written.

I've worked with Childish Gambino for so long, so I've learned that from those producing skills - how to really produce music - where, of course, it's about writing, but it's also about combining sounds and styles and genres.

I would say that 'Creed' has a lot more music in it. It's 60 minutes of music, while 'Fruitvale' had about a fourth of that at best. There's a bigger focus in 'Creed' because I had to make music for training montages.

The first time I experimented with sound design was on 'Fruitvale Station,' where I recorded the BART train and manipulated it.

For the last 10 years, I've been working with Donald Glover and Ryan Coogler, and we've put down so much time really trying to make the best that we can, whether it's a movie, a film score, or a song.

I haven't really ever seen a big budget Hollywood film with African music. Most of the time, it's just Hollywood's perception of what African music is.