An AMFM Magazine Exclusive Interview by Paul Salfen
Acclaimed composer David Fleming — known for co-scoring HBO’s The Last of Us, James Gunn’s Superman, and multiple Hans Zimmer blockbusters — sits down with AMFM Magazine’s Paul Salfen for an exclusive interview about crafting the unforgettable sound of Apple TV+’s quirky new series Widow’s Bay. In this candid conversation, Fleming reveals how he approached the show’s unique horror-comedy tone, his favorite episode, and the personal philosophy that keeps him thriving at the top of the industry.
In the world of film and television scoring, few composers navigate genre boundaries with the effortless versatility of David Fleming. Best known for co-composing HBO’s The Last of Us alongside Gustavo Santaolalla and contributing to James Gunn’s Superman (2025), Fleming has built a reputation for crafting emotionally rich, texturally immersive scores that elevate storytelling. His latest project, Apple TV+’s Widow’s Bay, showcases yet another side of his talent: a beguiling blend of whimsy, darkness, and small-town personality that defies easy categorization.
AMFM Magazine’s Paul Salfen sat down with Fleming for a wide-ranging conversation that touched on the joys of scoring this unique series, the composer’s unconventional path to Hollywood, and the mindset required to thrive in a notoriously tough industry.
A Town You’ll Want to Visit (Even If It’s Haunted)
Widow’s Bay has captivated audiences with its fresh take on horror-comedy — or, as Fleming describes it, something far more specific and harder to pin down. “Although the easy thing to say is like it’s a horror comedy,” he notes, “what’s so great about it is this perfect blend… it’s really its own unique kind of flavor and tone.”
The series unfolds like a collection of interconnected short stories, each episode offering its own distinct world while advancing the larger mystery of the town. Fleming highlights Episode 6, which premiered recently, as a particular favorite. “It’s this really nice sort of short story about one of the side characters, Patricia,” he shares. “The score kind of starts with this aspirational, almost fairy tale-like thing. And then… it has this dark undercurrent.”
His primary goal wasn’t to lean into horror tropes or comedic stings, but to make Widow’s Bay itself feel alive and inviting. “My main goal was just to make Widow’s Bay the town somewhere you wanted to keep returning to,” Fleming explains. “Even if scary things happen there, you’re like, I just love being there. I just want to go there. I want to know more.”
That sense of place shines through in his approach to the music. Working with a tight-knit team—including longtime collaborators Jake Boring, Arnie and Forrest Christiansen, and his wife Monica Sonnen as score producer—Fleming focused on casting the right sonic colors: harp, strings, woodwinds, and plucky textures that give the show its distinctive personality.
From Video Stores to Blockbusters
Fleming’s journey to this point wasn’t a straight line. Born in New York, he studied studio composition at Purchase State University before diving into the NYC advertising world, writing everything from ringtones to liquor commercials. Early on, he was obsessed with how music and film work together but didn’t yet see a clear path.
Everything changed when he scored a friend’s short film. “I just lost ten hours,” he recalls with a laugh. “I didn’t know where they had gone.” That immersive spark led him to pursue composing seriously. After winning the BMI Foundation’s Pete Carpenter Fellowship — a Hail Mary moment that involved submitting a strange, personal piece instead of a safe, impressive one — he moved to Los Angeles and soon connected with Hans Zimmer at Remote Control Productions.
His credits quickly grew: co-composing Blue Planet II with Zimmer, contributing to The Lion King (2019), Dune (2021), and Top Gun: Maverick (2022), scoring Amazon’s Mr. & Mrs. Smith, Netflix’s Damsel, and earning acclaim (including an ASCAP Screen Music Award) for The Last of Us. Yet Fleming remains refreshingly grounded about success.
“Getting competent at something happens later on,” he says. “You just have to follow what you’re obsessed with.”
Protecting the Ball: Advice for Aspiring Composers
When asked what advice he’d give to newcomers dreaming of scoring film and TV, Fleming returns to themes of obsession, flexibility, and resilience. Connections often trace back to unexpected projects — a short film that doesn’t pay, a demo that leads somewhere years later.
He offers a vivid football metaphor (fitting, given co-host Drew Pearson’s Dallas Cowboys legacy): your core artistic identity is like the ball. The industry will hit you hard from all sides. “It would be easy sometimes to think that you need to suppress that vulnerability… but you need to keep it with you,” Fleming advises. “Protect it as you go through this very rough industry.”
What’s Next for David Fleming
The composer shows no signs of slowing down. He’s currently working on a feature film slated for next summer, returning seasons of Mr. & Mrs. Smith and The Last of Us, and a video game score he’s particularly excited about (details still under wraps). “The all-over-the-map thing… I hope that never stops,” he says.
For fans of richly textured, emotionally intelligent music that serves story above all, David Fleming continues to deliver. Widow’s Bay is the latest proof — a town worth visiting, and a score worth revisiting.
Stream Widow’s Bay on Apple TV+ and keep an eye out for more from David Fleming across film, TV, and beyond. Special thanks to Paul Salfen for this insightful conversation.
