Translating Story into Sound: Lessons From a Modern Film Composer

Whether it’s the thunderous energy of a 65-piece orchestra at Warner Bros. or the intimate, melancholic pluck of a solo cello, Katherina Hristova delivers music that builds world and guides the narrative.

Hristova has carved out a versatile space in the industry with her work on Stark’s Redemption and the delicate textures of the award-winning animation The Dreaming World.

We sat down with her to hear about the "defining moment" that set her career in motion, the irreplaceable magic of working with live musicians, and how she navigates the collaborative dance between composer and filmmaker to find the heart of a story.

Let's dive in.

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NFS: What originally pulled you toward film and media composition, and was there a moment when you realized this was the kind of storytelling you wanted to do?

****Katherina Hristova : Music has been part of my life from a very young age, but my specific pull toward film music came from experiencing how powerfully it can shape emotion and narrative. A defining moment for me was watching Mary Queen of Scots , scored by Max Richter. While others focused on the historical elements of the film, I found myself deeply affected by a particular scene: a wide, scenic shot of cliffs and horseback riding underscored by a driving string ostinato, grounded by royal percussion and yearning chords, and carried by a melancholic melodic line. The emotional impact of that moment stayed with me, and I remember thinking that this was the kind of storytelling I wanted to contribute to as a composer.

What continues to resonate with me are scores that create a strong emotional connection - music that lingers because it makes you feel something. Sometimes it takes the form of a lush, melodic orchestral approach, such as John Powell’s score for Migration ; other times it’s a more intimate palette using synths, piano, and strings, like The Life of Chuck by The Newton Brothers.

In my own work, I focus on supporting the emotional arc of the story rather than drawing attention to the music itself. For example, in Stark’s Redemption , directed by Baz Kannan, I built the score around a concise motif and ostinato that evolve alongside the rising tension. Small shifts in orchestration, instrumentation, and variation help sustain momentum and reflect the narrative development - an approach inspired by how subtle musical changes can shape emotional perception over time.

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NFS: You work a lot with live orchestras. What does that experience give you emotionally or creatively that’s hard to replicate digitally?

KH : Working with live orchestras and musicians brings a level of depth, nuance, and emotional immediacy that’s difficult to replicate digitally. When I’m writing, I have a specific sound and intention in mind, and mockups are a helpful guide, but hearing that music performed live gives it breath and a sense of life. You’re not just hearing your ideas played back; you’re hearing them interpreted by musicians who are deeply attuned to their instruments and to the language of film scoring.

That collaboration is incredibly valuable. Live musicians bring insight, musical instincts, and sometimes subtle suggestions that can elevate the writing in ways no virtual instrument can. The energy in the room, especially when standing in front of a 65-piece orchestra, is exhilarating, nerve-racking, and deeply moving all at once. It creates a sense of connection to the music that’s impossible to fully simulate.

I recently had the opportunity to conduct my own piece during a recording session at Warner Bros., which was a particularly meaningful experience. Being physically present with the orchestra and shaping the performance in real time adds another layer of authorship and emotional investment to the score. I also love working with smaller ensembles, which offer a different kind of creative intimacy. On the award-winning animation The Dreaming World by Alexi Scheiber, I recorded guitar, violin, and cello, which allowed for a more intimate, collaborative process during the session, with room to explore and refine details in real time.

NFS: When you’re starting a new project, how do you translate a filmmaker’s vision or emotional goals into musical ideas?

****KH : When starting a new project, I like to begin by watching a locked cut of the film to fully absorb the story and identify the emotional beats. Even at this stage, I start thinking about how those moments might translate musically.

If there is temp music, I pay close attention to its function, not to imitate it, but to understand what it’s communicating in terms of pacing, tone, and emotional intent.

One of the most important parts of the collaboration is the spotting session. During this process, the director and I go through the film scene by scene, discussing where music should enter, what each cue needs to achieve emotionally, and how it serves the overall arc of the story. This is also where we talk through any references or preferences the director may have.

Those conversations shape my musical approach. From there, I translate the director’s vision into specific musical choices - tempo, instrumentation, texture, and emotional emphasis - always with the storytelling in mind.

NFS: Your background spans concert music, songwriting, and film. How do those worlds influence each other in your work today?

****KH : Across concert music, songwriting, and film, storytelling is the common thread in how I approach music. Each discipline informs a different aspect of my film scoring.

From songwriting, I’ve learned the importance of melodic contour and clarity: writing themes that are memorable and emotionally direct without becoming overstated. I think about that balance in all of my work. In my piece Maleficent , for example, I explored how a theme can be introduced, developed, and varied without losing its identity or becoming overly repetitive.

Concert music has shaped how I think about structure and narrative on a deeper level. Without visuals or lyrics, the music alone has to carry the story, which pushes me to be very intentional about how musical elements communicate emotion or imagery. That approach informed works like The Song of the Sea , performed by the Midland Sinfonia in Birmingham in 2024.

At the same time, my classical training continues to influence the technical foundation of my film scores, from voice leading and harmonic movement to orchestration, allowing me to support storytelling with both emotional clarity and musical depth.

NFS: What have collaborations with different orchestras and international teams taught you about communication and adaptability as a composer?

****KH : Working as a composer means balancing leadership and collaboration; you’re shaping the music, but also drawing on the insights of those around you. Humility and attentiveness to others’ perspectives are key to making the most of that process. Collaborating with musicians such as violinist Luanne Homzy, bassist Steve Dress, and percussionist MB Gordy has been incredibly rewarding, not only because of their artistry but also because it provides the opportunity to learn from their expertise. Listening to their insights on phrasing, articulation, and experimentation with extended techniques can elevate the music in ways that would be difficult to achieve alone. I believe it’s important for any composer to take advantage of the knowledge of the people around them - whether an orchestra, individual musicians, or fellow composers - as part of the creative process.

Working alongside David Bertok and Duncan Thum as a music editor has been equally rewarding. Observing and participating in creative discussions, such as a recent spotting session with a director for an upcoming documentary series, highlighted how effective communication can elevate the collaborative process. All parties actively suggested ideas, responded to each other’s feedback, and remained open to new perspectives: an approach I consider ideal.

In short, these experiences have taught me the importance of knowing what you want musically while staying open to new angles, ideas, and interpretations throughout the creative process.

NFS: For emerging filmmakers who may be working with a composer for the first time, what makes a collaboration truly successful from your perspective?

****KH : While every collaboration is unique, I find it most successful when both the composer and filmmaker feel the outcome reflects the story and vision they were aiming for, and when the process is enjoyable for everyone involved. Clear communication and constructive feedback throughout the project are essential, as they allow me to understand the filmmaker’s goals and translate them effectively into music.

It also helps when the filmmaker has a stable sense of the music they’re imagining, whether through temp tracks or a clear idea of the emotional and dramaturgical function of each cue. Having that foundation makes it easier to focus on creative solutions and develop a score that enhances the story in a meaningful way.