You’ve recorded at major scoring stages like Warner Bros., EastWest, and Hollywood Scoring. What does working in those environments demand from a composer at your level?

Working in these environments demands a high level of preparation, awareness, and professionalism, alongside a genuine love for the music. Recording sessions are fast-paced, so knowing studio etiquette and arriving fully prepared is essential. That includes well-organized Pro Tools sessions (when handling them yourself), clear and idiomatic notation, and scores that allow musicians to perform confidently and efficiently.

Beyond preparation, these sessions require deep familiarity with your own music. You need to know the emotional phrasing, potential problem spots, and your artistic priorities very clearly, because time is limited and decisions often have to be made quickly. One of the greatest strengths of recording live musicians is that their interpretation brings breath, energy, and new ideas to the score, but responding to that in real time requires clarity of vision.

Ultimately, these environments demand both precision and flexibility. I believe that when you truly care about the music, that level of preparation and attentiveness becomes second nature, because everyone in the room is working toward the same goal: achieving the best possible result in the time available.

What was the dramatic core of The Dreaming World, and how did the score help define the emotional identity of that project? Were there specific orchestration or thematic choices that became central to the storytelling in that score?

The dramatic core of The Dreaming World lies in the coexistence of fear and hope: fear in response to the current state of the world, and hope rooted in the possibility of a restorative future in which humanity lives in harmony with nature. The score is designed to hold these two emotional states in balance rather than treating them as opposites.

Musically, the score creates intimacy and frames hope as something fragile but persistent. This is expressed through soft instrumental colors, restrained dynamics, and small, deliberate musical gestures. The central thematic idea representing hope appears throughout the score in evolving orchestrations that mirror the narrative arc. Early on, the theme is presented sparsely and vulnerably, allowing space and uncertainty to remain present. As the story turns toward the vision of a better future, the same material becomes more active and layered, expanding in texture while retaining its melodic identity.

These orchestration choices allow the music to grow with the story, reinforcing the emotional transformation without losing the score’s underlying sense of tenderness and reflection.

What musical challenges did Stark’s Redemption present, and how did you solve them creatively? How did the score evolve as the film developed?

Stark’s Redemption presented the challenge of finding the right balance between musical presence and dense dialogue. As the film contains almost continuous speech, the score needed to support the narrative without becoming intrusive or repetitive.

To address this, I built the score around a developing ostinato that could adapt over time rather than relying on constantly changing themes. The ostinato evolves rhythmically, supports different melodic layers, and shifts in orchestration, allowing the music to remain cohesive while still responding to changes in mood and pacing. This approach gave the score forward motion without competing with the dialogue.

As the film developed, the score also expanded stylistically. In the middle section of the film, I used the opportunity to experiment with blending cultures, creating a more exotic soundscape through the combination of synth textures and various Asian instruments. This shift added contrast and depth while remaining connected to the score’s underlying rhythmic identity, allowing the music to evolve alongside the story.

Your orchestral piece Maleficent, recorded with a 65-piece orchestra at Warner Bros., received multiple international awards. Congratulations on receiving such great recognition! What do you think resonated with juries across those competitions?

Thank you! I think what resonated with juries was the balance between detailed textural writing and a clear melodic identity. The piece is built around a main theme that’s introduced at the beginning and reappears in different forms throughout the score. That recurring material helps guide the listener while allowing the theme to unfold and reveal new aspects of itself over time.

I also believe the Bulgarian element played an important role, particularly for audiences unfamiliar with that musical culture. The 7/8 section, with its traditional Bulgarian accompaniment, functions as a playful development of the main theme and reflects the mischievous, slightly unpredictable nature of the character.

Finally, the contrast between subtle, lyrical textures and the more expansive, brassy orchestral sections creates a clear musical arc. That interplay allows the music to breathe and supports the narrative flow, which I think helped the piece resonate emotionally with listeners across different competitions.

What kinds of projects are you drawn to at this stage of your career, and why?

At this stage of my career, I’m drawn to projects that offer creative openness and emotional depth. I really enjoy working across a variety of formats and genres, because each project challenges me to find the right musical language and expand my perspective as a storyteller. Hearing a filmmaker’s vision and discovering how music can best support it is what excites me most.

That said, I’m particularly drawn to animation, as its nature invites more imaginative and unconventional approaches, both visually and musically. I also gravitate toward projects that value rich, melodic writing and expressive orchestration, music that is lush and capable of carrying emotional depth throughout the narrative.

Interview by Nami Melumad.

Check out Katerina’s Directory Page here!