Interview by Paul Salfen
In a lively conversation with AMFM Magazine’s Paul Salfen, composer Antonio Sánchez shared the electrifying journey behind his Emmy-nominated score for the Apple TV+ series The Studio, specifically for the episode “The Missing Reel.” Nominated for Outstanding Music Composition for a Series (Original Dramatic Score), Sánchez’s work is part of the show’s record-tying 23 Emmy nominations, a testament to its sharp writing, stellar acting, and bold storytelling about the chaotic world of Hollywood. With his signature drumming and a newfound orchestral depth, Sánchez has crafted a sound that’s as dynamic as the series itself.
Sánchez’s involvement with The Studio began with a Zoom call from the show’s creators, including Seth Rogen, whose infectious enthusiasm immediately won him over. “The first thing they said was how much they loved Birdman,” Sánchez recalls, referencing his iconic drum-heavy score for the 2014 film. Having seen the first episode of The Studio—temporarily scored with his Birdman tracks—Sánchez was hooked. “It looked high quality. The acting, the writing, the cinematography—it was hilarious and sharp.” Unlike other projects where post-production can falter, The Studioexceeded expectations, delivering a brutally honest yet wildly entertaining take on Hollywood.
The creators challenged Sánchez to go beyond his drumming roots, known from Birdman, to score fictional films within the series, such as a Ron Howard project. “They wanted to see if I could do more than drums,” Sánchez says with a laugh. “I reassured them I’m not a one-trick pony.” Given creative freedom, he was encouraged to experiment—adding music where none was planned or tweaking existing cues. “They sent me an email saying, ‘Everything you’re doing is great. Keep going,’” he shares, a vote of confidence that fueled his bold approach.
The Emmy-nominated episode, “The Missing Reel,” posed a unique challenge: crafting a film noir-inspired score with woodwinds, horns, and jazzy drums, evoking the mysterious vibe of Jerry Goldsmith’s work. “I’d never done anything like that,” Sánchez admits. Without access to a live orchestra, he relied on digital plug-ins, anchoring the score with his organic drum sound. “Drums are so organic that when you layer other instruments on top, it feels legit,” he explains. The result, a blend of his drums with Goldsmith-esque orchestration by music editor Lorena Perez, left Sánchez in awe: “I was like, ‘Wow, this is amazing.’”
Sánchez’s passion for music traces back to age five, when he saw a Ludwig drum kit at a family gathering, the same model played by Led Zeppelin’s John Bonham. “Seeing that drum set live did something to me,” he says. When the owner played along to “Whole Lotta Love,” the raw power cemented Sánchez’s destiny. At 15, Milos Forman’s Amadeussparked a fascination with classical music, inspired by Mozart’s genius. Raised on his grandfather’s classical records and his mother’s rock ‘n’ roll, Sánchez developed a versatile ear, later embracing jazz and other genres.
For aspiring musicians, Sánchez’s advice is unflinching: “If you’re thinking of a backup plan, music might not be for you.” The industry’s brutality, amplified by social media’s double-edged sword, demands unwavering commitment. “It requires sacrifice, discipline, and love,” he says. “You have to play music that fulfills you, because playing what you don’t believe in is a slow death.” This philosophy drives Sánchez, who finds energy in performing music he loves, even after grueling tours. “Before a gig, I’m dead. During it, I come alive. After, I’m dead again—but it’s worth it.”
Sánchez is especially proud of “The Missing Reel” score, a career highlight that pushed him into uncharted territory. Beyond The Studio, he’s busy with new projects, including The Beat Trio, an album with banjo player Bela Fleck and Colombian harpist Edmar Castañeda, and Ellipsis, a January release blending Yoruba chants with electronic textures, featuring Cuban percussionist Pedrito Martinez and Snarky Puppy’s Michael League. He’s also crafting a duos album with luminaries like John Scofield and Bill Frisell.
With The Studio Season 2 on the horizon, Sánchez anticipates more creative challenges. “They’ll throw some screwballs my way, and I’m ready,” he says with a grin. His work on The Studio not only showcases his versatility but also cements his place as a composer who can capture the pulse of a story—whether it’s Hollywood’s chaos or a noir mystery. For fans, his score is a reason to dive into The Studio, a series as bold and vibrant as the music driving it.
