Andrew Hewitt

BAFTA-NOMINATEDCOMPOSER, LOS ANGELES
It's What's Inside film poster
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The Double film poster
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Submarine film poster
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Mojave film poster
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Villains film poster
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We Have Always Lived in the Castle film poster
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The Sea film poster
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The Stanford Prison Experiment film poster
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A Crooked Somebody film poster
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The Brass Teapot film poster
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Bill film poster
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Old Boys film poster
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The Good Neighbor film poster
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Cuckoo film poster
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The Divide film poster
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Four Horsemen film poster
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It's What's Inside

DirectorGreg Jardin
ProducerJason Baum
ProductionSuch Content, Netflix
CastAlycia Debnam-Carey, James Morosini
I began scoring this movie before the shoot, enabling me to play with a wide range of ideas and textures. Quickly a soundworld emerged that Greg played on set to inspire the actors, and used in the edit to create a unique feel to the universe of IWI from the very start. After filming, finding where more music was needed, I both developed existing ideas and created new ones to form a tapestry of style and psychedelic feeling.
  • Anxious
  • Game
  • Voices

The Double

DirectorRichard Ayoade
ProducerAmina Dasmal, Robin Fox
ProductionFilm4, Magnolia Pictures
CastJesse Eisenberg, Mia Wasikowska
My orchestral score took four chords, from Schubert’s Doppelgänger, and split them into echoing reflections of Simon/James’ split mind, battling with each other across the stereo field - from soaring solo violins to violent celli and bass. Solo harp with a halo of strings underlie Hannah, and an ensemble of vibes, flute and quartet paints Simon/James’ Switch of selves. Electronic tracks score Wallace Shawn’s office boss using fax, modem and dot matrix sounds, while the main theme reappears in onscreen 8-bit videogame music.
  • Frantic
  • Theme 2
  • Switch 1

Submarine

DirectorRichard Ayoade
ProducerMary Burke, Mark Herbert
ProductionWarp Films
CastCraig Roberts, Sally Hawkins, Paddy Considine
Submarine’s poignant, witty version of adolescent love allowed me to homage New Wave orchestral scores, with a whimsical and nostalgic soundscape that flowed from Oliver’s mind. I used a variety of styles to play with lighthearted melodies and introspective tender themes, reflecting Oliver’s inner struggles. Collaborating with Richard Ayoade and the superb cast on this charming and touching film, one of my first features, was an absolute joy and I am proud to have been part of this memorable and heartwarming story. Recorded at Air Studios with The Composers Ensemble.
  • Openings
  • Running

Mojave

DirectorWilliam Monahan
ProducerJustine Suzanne Jones, Aaron L. Ginsburg
ProductionHenceforth Pictures
CastOscar Isaac, Mark Wahlberg, Walton Goggins
Scoring this film allowed me to create a dynamic musical landscape that captured the suspense, danger, and isolation of the desert setting, as well as the psychological turmoil of the characters. I experimented with a blend of gritty, menacing themes and more introspective, haunting melodies, mixing bass guitars and percussion with orchestra and low flutes, a throwback to Nineties thrillers, underscoring the tense standoffs and cat-and-mouse games that unfold between Isaac and Hedlund.
  • Into Desert
  • Discard
  • Cave

Villains

DirectorDan Berk, Rob Olsen
ProducerTim White, Trevor White
ProductionStarthrower Entertainment
CastBill Skarsgård, Kyra Sedgwick, Maika Monroe
This dark comedy gave me an exciting blend of tension, humor, and unexpected twists, allowing my score to combine playful and mischievous elements with more classically suspenseful undertones. The orchestral landscape was designed to enhance the movie's rapidly shifting moods, with developing themes that reflect our characters' complex personalities and motivations. This was another exciting collaboration with Trevor White’s Starthrower Entertainment.
  • Basement
  • Waiting

We Have Always Lived in the Castle

DirectorStacey Passon
ProducerJared Ian Goldman, Robert Mitas
ProductionFurther Films, Mighty Engine
CastCrispin Glover, Alexandra Daddario
Scoring this suspenseful and atmospheric exploration of paranoia, and family dynamics, was a dream delve into a rich and haunting musical landscape, dissonant, angular and disturbing. Combining eerie and mysterious themes with moments of solo piano warmth and vulnerability, enabled me to reflect the character’s shifting and complex emotions. I used a full orchestra with low solo woodwinds to paint this darkly enchanting and chilling story.
  • Escape
  • Sisters
  • Titles

The Sea

DirectorStephen Brown
ProducerLuc Roeg
ProductionIndependent Film
CastCiaran Hinds, Charlotte Rampling
For the soul of Ciarán Hinds’ Max, I chose a solo violin, beautifully brought to life by renowned concert violinist Hilary Hahn. To paint the ebb and flow of memory and the sea, I blended layers of instrumental and ethereal electronic elements with her effervescent playing, which emerged and faded alongside the beautiful cinematography. Staying in the film’s location for several weeks to compose the score, I felt truly embedded in Banville’s world, and moved by absorbing the powerful performances of the cast.
  • Dream
  • Memory
  • News

The Stanford Prison Experiment

DirectorKyle Patrick Alvarez
ProducerLauren Bratman, Brent Emery
ProductionAbandon Pictures, Coup d'Etat Films
CastBilly Crudup, Ezra Miller
Scoring Stanford allowed me to delve into a rich and emotionally charged soundscape, balancing a sense of foreboding and unease with the vulnerability and psychological turmoil experienced by the trapped characters. A fully electronic soundworld, incorporating vibes and tuned percussion, paid tribute to the story’s Seventies origins, while enhancing the film's immersive atmosphere and thought-provoking exploration of power dynamics and authority. Collaborating with Kyle and the exceptional cast on this captivating and unsettling film was truly an unforgettable experience.
  • Titles
  • Sifting
  • Remember

A Crooked Somebody

DirectorTrevor White
ProducerPaul Finkel, Tim White
ProductionStar Thrower Entertainment, Synergics
CastRich Sommer, Ed Harris
This movie is a fascinating exploration of the human desire for redemption, recognition, and the lengths we go to achieve them. My orchestral score allowed me to create a compelling thriller genre soundscape, that mirrored increasingly tense atmospheres and Michael’s moral ambiguity. Mixing suspenseful and introspective cues with more aggressive pursuit tracks, I accelerated the size and power of textures, as the story grows both more gripping and thought-provoking.
  • Night
  • Decision
  • Betrayed

The Brass Teapot

DirectorRamaa Mosley
ProducerDarren Goldberg, James Graves
ProductionAtlantic Pictures, Northern Lights Films
CastJuno Temple, Michael Angarano
The movie's thought-provoking blend of cheeky humor with unnerving darkness, allowed me to explore a variety of orchestral tones - from lighter, more whimsical and magical moments, to more intense, threatening themes and textures, as hostile guardians of the Brass Teapot close in on our bumbling couple. The score was recorded with an ensemble of wonderful players at Air Studios, and blended with electronic components by talented score mixer Nick Taylor, a frequent collaborator on many of my scores.
  • Play
  • Scheming
  • Reconcile

Bill

DirectorRichard Bracewell
ProducerAlasdair Flind, Charles Steel
ProductionBBC Films, Cowboy Films
CastMathew Baynton, Ben Willbond
Bill called for a classic, full orchestral score in the romping, joyful tradition of Eighties Spielberg/Lucas collaborations. Lively and whimsical cues combine historic instruments with modern orchestrations to reflect the ensemble’s playful tone and setting, and I created soaring romantic themes for Bill and his love, Anne Hathaway. I conducted a seventy-piece BBC Orchestra, which Nick Taylor mixed and mastered at Air Edel for Varese Sarabande.
  • Battle
  • Main Titles
  • Together

Old Boys

DirectorToby MacDonald
ProducerLuke Morris
ProductionMomac Films
CastAlex Lawther, Jonah Hauer-King
While crafting the orchestral score for this film I aimed for a nostalgic and warm atmosphere, blending orchestral and folky elements to evoke the tender and lighthearted feelings experienced by Amberson, Winchester and Agnes on their journey. Focusing on harps, piano, and strings, it was a continual delight to be part of the magical world of this “quirky appealing take on young love and the need to speak in your own voice” (Empire).
  • Story

The Good Neighbor

DirectorKasra Farahani
ProducerTim White, Trevor White
ProductionAnonymous Content, Star Thrower Ent
CastJames Caan, Logan Miller, Keir Gilchrist
As the plot of Neighbor unravels, my score aimed to intensify the tension and create an eerie atmosphere, drawing the audience into the unfolding mystery. Blending electronic and acoustic elements, I performed and mixed the score to capture the story’s dark themes and the characters' disturbed emotional journeys. A stand-out scene of James Caan reminiscing on sweeter times called for a singularly tender and calming cue, alone in the darkness of the whole.
  • Alarm
  • Itch
  • Watch

Cuckoo

DirectorRichard Bracewell
ProducerTony Bracewell
ProductionPunk Cinema
CastRichard E Grant, Tamsin Greig
For the score to Cuckoo I created a black and white sound for solo cello, string orchestra and harp. A mind on the edge of sanity, atmospheres of psychological tension and twisted unease, all required a chiaroscuro effect - real / notreal. I used imitations of the two-note birdcall, first on the high piercing cello, to ricochet staccato fear throughout the strings. The Composers Ensemble again provided world class performances. “One of the year's most stylistically coherent film scores” (Screen Archives Entertainment). A haunting cuckoo's call weaves through this score for cello solo and strings.
  • Pursuit
  • Mind
  • Obsession

The Divide

DirectorKatharine Round
ProducerChristopher Hird
ProductionDartmouth Films
CastNoam Chomsky
Scoring The Divide allowed me to explore a number of sensitive responses to the vulnerability of these stories. With each story came a theme, a different musical tone, to evoke the emotions that I felt from each person. I tried to create a soundtrack that was both empathic and strong, underlining the film's urgent message while respecting the personal stories shared. It was an enlightening experience, and I'm honored to have been part of a project that sparks important conversations about the need for a more equitable society.
  • Pressure
  • Main Titles

Four Horsemen

DirectorRoss Ashcroft
ProducerJason Whitmore
ProductionMotherlode
CastNoam Chomsky, Joseph Stiglitz
Scoring this documentary gave me a fascinating insight into the interrelationship between four pillars of our civilization - the financial system, violence, poverty, and the exhaustion of the Earth's resources. I was proud to be part of communicating Ross's inspiring vision of the way in which these pillars worked together in ways most of us do not easily appreciate. I intended my music to embody the fear, sadness, and urgency the film so powerfully expressed.
  • Main Titles
  • Premonition
  • Failure

Garth Marenghi's Darkplace

Channel4, Comedy x 6, BAFTA Nomination

Catastrophe

Pioneer Productions, doc series x 5

Hindenburg

Pioneer Productions, TV movie

Dean Learner

Channel4, Comedy x 5

After Ever After

BBC One, TV movie, David Walliams

The Midnight Gang

BBC One, TV movie, David Walliams

Lusty Crest

Adult Swim comedy

The Stuarts

BBC Two, documentary, mini series x 3

Harry Hill

Channel4 comedy special

Parasomnia

Channel4, RDF TV documentary

Extraordinary Children

Zig Zag x 3

Globetrekker

Pilot Productions

Cosmo

Cartoon Network

Verne

Cartoon Network

Commercials

Saatchi & Saatchi, Motherlode, Framestore

Andrew Hewitt in his Los Angeles studio

Andrew composes for film and television with orchestral scale, stylistic range, and dramatic imagination.

Working from his Los Angeles studio, he writes for orchestra, electronics, and voices, shaping scores to speak the dramatic and emotional world of the project.

Scoring

Andrew's work moves fluently between orchestral, electronic, and vocal writing, shaped by a lifelong love of cinema and an instinct for music that serves story, tone, and performance. He orchestrates, conducts, and produces all his scores, from first mockups through recording and final mix.

His first screen score, for the cult series Garth Marenghi's Darkplace, earned a BAFTA nomination for the Anthony Asquith Award. Since then he has scored theatrical features, television series, cult comedy, documentaries, commercials, animation, docudramas, and TV movies across the USA and Europe.

Recent

Andrew's recent feature It's What's Inside, a dark comedy thriller written & directed by Greg Jardin, premiered at Sundance before being acquired by Netflix in one of the festival's highest ever sales. It is streaming now, with the soundtrack album also released.

Selected Screen Work

Across a wide range of genres, Andrew's film scores include psychological drama The Double, gothic drama We Have Always Lived in the Castle, thriller Villains, drama The Stanford Prison Experiment, coming-of-age comedy Submarine, adventure comedy Bill, and crime thriller Mojave for Oscar-winning writer-director William Monahan.

He has also scored television projects, commercials, and three Audible projects with Richard Ayoade.

Background & Education

Born in England, Andrew grew up immersed in classical piano, singing, and acting. Before moving into screen composing, he performed in hundreds of classical concerts, tours, operas, and soundtrack recordings.

That performing life took him from Bach and Wagner to the Star Wars prequels and The Lord of the Rings, working with conductors including Simon Rattle, John Adams, Alan Silvestri, John Williams, and Howard Shore.

He holds a Master's in Music from Cambridge University and was awarded a full scholarship to London's Guildhall School of Music and Drama. Alongside his composing work, he has lectured at the AFI Conservatory, Thinkspace, and Georgetown University, and offers selected private mentoring for emerging screen composers. A dual American and British citizen, he lives in California.

Memberships

Andrew is an invited member of BAFTA, BMI USA, PRS UK, and the World Soundtrack Academy.

Selected Collaborators

NetflixBBC FilmsFilm4BFIIFC FilmsMagnolia PicturesAnonymous ContentFramestoreWarp FilmsStar Thrower EntertainmentFurther FilmsCowboy FilmsAlcoveIndependent FilmRed Hour FilmsHenceforth PicturesSuch ContentChannel 4BBC OneBBC TwoCartoon NetworkAdult SwimDiscoveryPioneer ProductionsSaatchi & SaatchiMotherlode
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Film

Television

Richard Ayoade

Director

The Double, Submarine, Darkplace

I've worked with Andrew on many film and television projects and he has brought the same level of inventiveness, imagination and technical brilliance to each.

His is an extraordinary talent matched only by his commitment and passion for the craft.

Greg Jardin

Director

It's What's Inside

I was drawn to work with Andrew because of the ingenuity running through all his scores. He created much of the music before the shoot, allowing us to play it for the actors on set and then place it directly into the edit. This enabled us to truly shape the movie around his score. Working with Andrew was an inspiring experience, and we were lucky to have his passion and commitment.

Kyle Patrick Alvarez

Director

The Stanford Prison Experiment

Andrew brought exactly what our film needed: a texture and a dark psychological undertone that could drive the film but unconsciously bring the audiences further into a dark space.

He challenged what the movie could and should sound like, and his contributions are an undeniable part of its most effective moments. I'll always be grateful for his insight and creative integrity.

The Double

The film is a distinct pleasure... the score by Andrew Hewitt is one of the best we've heard in a while. A joy to watch... propelled by a great score

Indiewire

A crack creative team that includes composer Andrew Hewitt's haunting score

LA Times

Operatically amped up by Andrew Hewitt's thunderous orchestral score

Variety

The Stanford Prison Experiment

The excellent music by Andrew Hewitt (The Double, The Brass Teapot) incorporates a metronomic ticking on occasion, as if God were watching events with one eye on some cosmic stopwatch and making notes for Himself

The Wrap

Andrew Hewitt's score, churning and ominous, adds a jolt of momentum that prevents proceedings becoming as clinical as the context might demand

Variety

Prepare for dread: the mounting tension is complimented by Andrew Hewitt's pulsing, ominous score

Irishtimes

Some of the best features were courtesy of composer Andrew Hewitt, who layered the movie with pulsing and haunting basslines, mixed with abrupt and deafening silences

Acrn

Ably assisted by Andrew Hewitt's minimalist score

Radio Times

SCORE REVIEWS

Composer Andrew Hewitt's score may be the grand, orchestral version of whatever emanates from the music box trinket on Constance's vanity

Variety - We Have Always Lived In The Castle

Andrew Hewitt provides a beautiful score

Followingfilms - Crooked Somebody

Featuring a pulse-pounding score by Andrew Hewitt

Marketscreener - Crooked Somebody

The strongest influence here is the spaghetti western, and that sauce is seasoned with homages to Sergio Leone by composer Andrew Hewitt

Screendaily - Mojave

Winner: Best Comedy Score of the Year

Reel Music Awards - Bill

Favourite Darkplace moments - a thrilling chase accompanied by a period-appropriate synth frenzy, courtesy of Bafta Nominated Andrew Hewitt

Den of Geek - Garth Marenghi's Darkplace

The Stanford Prison Experiment

The excellent music by Andrew Hewitt (The Double, The Brass Teapot) incorporates a metronomic ticking on occasion, as if God were watching events with one eye on some cosmic stopwatch and making notes for Himself

The Wrap

Andrew Hewitt's score, churning and ominous, adds a jolt of momentum that prevents proceedings becoming as clinical as the context might demand

Variety

Prepare for dread: the mounting tension is complimented by Andrew Hewitt's pulsing, ominous score

Irishtimes

Some of the best features were courtesy of composer Andrew Hewitt, who layered the movie with pulsing and haunting basslines, mixed with abrupt and deafening silences

Acrn

Ably assisted by Andrew Hewitt's minimalist score

Radio Times

Stuart Cornfeld

Red Hour Films

Producer The Fly, The Elephant Man

As Executive Producers of Submarine, Ben Stiller and I were overjoyed with Andrew's score. He could create anything that was needed for the drama, and he moved so effortlessly between different styles, that we were bowled over by his technical skill alone.

Luc Roeg

CEO Independent Film

Producer We Need To Talk About Kevin

Andrew's music directly impacted the success and drama of The Sea. We were very lucky to have him. This was a highly sensitive and dramatically subtle film, and he proved himself a consummate artist, working at the top of his game.

George Fenton

Oscar Nominated Composer, Gandhi,

The Fisher King, Dangerous Liaisons

Andrew holds a reputation of excellence within the industry. His compositional skill and dramatic sense work in tandem, to produce scores truly crucial to the world of each film, in bespoke and tailored ways. Andrew announces himself with a clear artistic voice, and with fresh and bold vision.

The Sea

Andrew Hewitt's elegant score, graced with a number of arrestingly mournful solos by violin virtuoso Hilary Hahn

Variety

Another major player here is Andrew Hewitt's watchful and tentative modern score, promising a chilly revelation

Hollywood Reporter

The film, with a haunting score by Andrew Hewitt, moves gracefully between periods in its protagonist's life and captures his sense of yearning and loss

The Independent

Submarine

Oliver, unlike Rushmore's ever-perky Max Fischer, carries a droopier, less extroverted screen presence - a sensibility matched by Hewitt's moody music

Variety

Composer Andrew Hewitt contributes a fetchingly dead-on pastiche of Georges Delerue's scores for Godard and Truffaut

The Independent

A beautiful score, from Andrew Hewitt

Collider

Paul Haslinger

Grammy/Emmy Nominated Composer,

Underworld, Tangerine Dream

Andrew is a composer of rare single-minded passion and dedication to cinema and film-music. His scores are of the highest quality, in both technical and artistic terms. His versatility, depth, and intelligence mark him out with ease among his peers.

Dr Tom Schneller

Professor of Music

Cornell University

It is indeed a rare composer who can develop a score so perfectly suited to its film. Andrew is unquestionably an artist of the highest caliber and his music has helped bring many films to life. Like Bernard Herrmann, I consider Andrew to be a true artist, of which there are very few in the commercial world of film music.

Dr Mitchell Morris

Professor of Musicology

UCLA

It is not common to find a gifted composer who is as insightful and articulate as Andrew – his scholarly level and rigor is high. He is sensitive to the complex situation of sound within a score, to crucial details of plot and gesture, and deft at weaving critical insights into a consideration of psychological mise-en-scène.

SCORE REVIEWS

Composer Andrew Hewitt's score may be the grand, orchestral version of whatever emanates from the music box trinket on Constance's vanity

Variety - We Have Always Lived In The Castle

Andrew Hewitt provides a beautiful score

Followingfilms - Crooked Somebody

Featuring a pulse-pounding score by Andrew Hewitt

Marketscreener - Crooked Somebody

The strongest influence here is the spaghetti western, and that sauce is seasoned with homages to Sergio Leone by composer Andrew Hewitt

Screendaily - Mojave

Winner: Best Comedy Score of the Year

Reel Music Awards - Bill

Favourite Darkplace moments - a thrilling chase accompanied by a period-appropriate synth frenzy, courtesy of Bafta Nominated Andrew Hewitt

Den of Geek - Garth Marenghi's Darkplace

Cuckoo

Andrew Hewitt's emotional music score is beautifully understated and atmospheric, a perfect accompaniment to the eeriness of the surroundings and a perfect reflection of Polly's fraught state of mind

Den of Geek

A top-notch strings-only score (with an emphasis on cello) ticks all the boxes for a great listening experience, this is one of Movie Score Media's brightest hidden stars, and I recommend you take a listen to this inventive score.

Maintitles

Clearly one of the year's most stylistically coherent film scores, building most of its mesmerizing underscoring on the simple two note motif - ingeniously based on the bird's call. An impressive lesson in how to construct a truly effective film score

Screen Archives Entertainment

The Double

The film is a distinct pleasure... the score by Andrew Hewitt is one of the best we've heard in a while. A joy to watch... propelled by a great score

Indiewire

A crack creative team that includes composer Andrew Hewitt's haunting score

LA Times

Operatically amped up by Andrew Hewitt's thunderous orchestral score

Variety

Cuckoo

Andrew Hewitt's emotional music score is beautifully understated and atmospheric, a perfect accompaniment to the eeriness of the surroundings and a perfect reflection of Polly's fraught state of mind

Den of Geek

A top-notch strings-only score (with an emphasis on cello) ticks all the boxes for a great listening experience, this is one of Movie Score Media's brightest hidden stars, and I recommend you take a listen to this inventive score.

Maintitles

Clearly one of the year's most stylistically coherent film scores, building most of its mesmerizing underscoring on the simple two note motif - ingeniously based on the bird's call. An impressive lesson in how to construct a truly effective film score

Screen Archives Entertainment

Email

a@andrewhewitt.co