Alright – so today we’ve got the honor of introducing you to Antonio Di Iorio. We think you’ll enjoy our conversation, we’ve shared it below.
Antonio, looking forward to hearing all of your stories today. What’s been the most meaningful project you’ve worked on?
Without hesitation, I can say that among the many exciting and fulfilling projects I’ve worked on, the most meaningful one is undoubtedly “Godzilla x Kong: The New Empire.” This monumental film hit theatres worldwide on March 29th and represents a significant milestone in my career, especially as I stepped into the role of a credited co-composer alongside Tom Holkenborg (Junkie XL). Being recognized as a co-composer on one of the biggest blockbusters in cinematic history is nothing short of incredible. “Godzilla x Kong: The New Empire” is not just another movie; it’s a cultural phenomenon that has captivated audiences worldwide. Having my name associated with such an epic production feels like a long-awaited acknowledgement of years of hard work, dedication, and an unrelenting passion for this craft. This opportunity stands as the culmination of a journey filled with various additional composer credits on major studio films, each one serving as a stepping stone that prepared me for this moment. From scoring early projects to TV series and live concerts, to contributing to some of the biggest productions, every experience—including networking—has helped shape my growth as an artist, composer, and individual.
One of the most rewarding aspects of working on this project was the opportunity to collaborate closely with a renowned director and some of the most influential executives at Legendary and Warner Bros., as well as their incredible creative team. Working alongside Tom, I had the privilege of being involved in high-level discussions and brainstorming sessions with these studio professionals. Witnessing their vision for the film come to life was not only inspiring but also humbling. Their guidance and feedback continually challenged me to elevate my work to new heights, demanding complete responsibility on my part in making crucial creative decisions. This included attending pivotal meetings with the director and producers, as well as working with the filmmakers and music editor—moments that tested and refined my abilities.
The collaboration with Tom began in 2016, when I worked as an in-house additional composer until 2020. After completing “Godzilla vs. Kong” that year as a freelancer for the first time, I began expanding my horizons, working on various projects outside Tom’s sphere, including collaborations with other remarkable composers such as Pinar Toprak and Henry Jackman. Then, in 2022, Tom reached out again for the next chapter of “Godzilla x Kong: The New Empire.” Our collaborative relationship had always been special, and the mutual decision was made to take the partnership to the next level. It was agreed that the time was right for me to become a credited co-composer. There will always be deep gratitude toward Tom and his agents for their unwavering trust and generosity.
From a creative standpoint, this film was deeply rewarding. The challenge was to give each scene a precise and distinctive sonic identity, accompanied by the majestic presence of a large orchestra. Based on the filmmakers’ vision, the action plan for the score was to retain the established musical language from the first film (“Godzilla vs. Kong”) while introducing a more elaborate and enriched approach. This required a delicate balance—maintaining continuity with the previous score while weaving in new musical elements that would reflect the new settings and characters introduced in this film. Six new themes were composed to mirror the events and interactions between both familiar and fresh characters, adding innovation and vitality to the soundtrack while enhancing the complexity of the narrative.
During the early stages of the creative process, my team, consisting of two close colleagues and friends—Shwan Askari and Jarrod Royles-Atkins—and I spent significant time experimenting with unique instruments, especially those with ethnic origins. Considerable effort was also devoted to developing new sounds in the percussion section. In addition to the ever-prominent orchestra, extensive use of synthesizers, sound design, and specially crafted samples became essential in supporting the film’s intricate plot, story developments, and the introduction of new characters. Collaboration is vital in modern film music, but working with friends makes the journey all the more enjoyable.
My goal, aligned with the filmmakers’ vision, was to distinctly characterize each character, environment, and community—such as the Iwi tribe—by conveying their unique physical traits and nature through carefully crafted musical themes and a diverse sonic palette. This range spanned from pure sound design with powerful effects to unusual instrument combinations, such as an array of mallets (including various unique marimbas and other ethnic instruments) paired with horns, bassoons, and a wide variety of synthesizers. For the melodic sections, both heavy and electric synths were used, often with pulsating riffs that became a signature of each character. Ethnic choral elements were also incorporated, with four different choirs featuring distinct tonal qualities, further enhancing the film’s depth.
These elements were harmoniously integrated with a titanic orchestra, recorded masterfully at Synchron Stage Vienna by the Synchron Stage Orchestra, under the expert direction of Bernhard Melbye Voss. The result was a diverse and engaging sonic experience that resonated throughout the entire film. Achieving such a multifaceted auditory landscape was the ultimate accomplishment. In the end, it’s always about making the filmmakers proud, embracing their vision, and contributing something that enhances the story they want to tell.
This project has been more than a personal triumph—it’s been a transformative experience, both professionally and creatively, and I am incredibly proud to have been a part of it.
Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.
As an Italian composer based in Los Angeles, I specialize in writing music for film, television, and classical concerts. With a solid educational foundation that includes master’s degrees in composition, orchestral conducting, and piano from both Italy and the United States, I’ve developed a diverse and expansive portfolio. My work spans collaborations with acclaimed directors on award-winning projects such as “Wings Over Washington”, “Il Viaggio”, “Tomb Raider”, “Jacks”, “Life In Between”, and “Spirito Eroico”, which was created for the Vancouver 2010 Olympic Games.
Throughout my career, I’ve achieved numerous accolades, winning several prestigious international composition competitions. Some of these include the Krakow Film Music Festival, the Bucchi Awards, Sky With Your Music, the Global Music Awards (Silver Medal Winner) in Los Angeles, and the Open World Toronto Film Festival. Although I narrowly missed taking the top spot at the Transatlantic Composition Competition, I was recognized with two nominations at the Hollywood Music In Media Awards.
Seeking to expand my horizons, I relocated to Los Angeles in 2016, where I became the Senior Assistant and Additional Composer for Tom Holkenborg, widely known as Junkie XL. My experience working at Tom’s studio was transformative, giving me the opportunity to contribute extensively to major films such as “The Dark Tower”, “Tomb Raider”, “Mortal Engines”, “Alita: Battle Angel”, “Sonic the Hedgehog”, “Terminator: Dark Fate”, and “Distance Between Dreams”, among others. This period also marked the beginning of a meaningful personal and professional relationship with Tom, who became not only a mentor but also a close friend.
After four productive years with Tom, I transitioned into freelance work, where I continued to provide additional music for high-profile projects. My contributions to the blockbuster “Godzilla vs. Kong” stand out among these, as do subsequent collaborations on films like “PAW Patrol: The Mighty Movie”, “The Lost City”, “Shotgun Wedding”, “NFL Thursday Night Football”, and “Avatar: Frontier of Pandora” working with composer Pinar Toprak. I also had the privilege of working alongside composer Henry Jackman on projects like Disney’s “Strange World” and “Red One”, as well as collaborating with composer Alex Belcher, providing additional music for the TV series “Citadel”.
One of the most significant milestones in my career came recently with my work on “Godzilla x Kong: The New Empire”*, which has held the number one spot at the global box office since its release in March 2023. It was an incredible honour to step into a prominent role as a co-composer alongside Tom Holkenborg for such a monumental blockbuster in a beloved franchise.
For “Godzilla x Kong: The New Empire”, I introduced seven new themes to reflect the film’s intricate narrative, carefully crafting character-specific motifs and environmental soundscapes. We worked with a variety of ethnic instruments and recorded a massive orchestra at the renowned Synchron Stage Vienna to ensure the score delivered an immersive experience.
Following the requests coming from the filmmakers, one of the key challenges—and the most exciting aspects of the project—was creating a unique sonic identity for each element of the story. This required not only traditional orchestration but also extensive sound design and synthesis, as well as innovative approaches to musical storytelling. What I’m most proud of is how the score mirrors the complexity and development of the film’s characters, and ultimately, how it brings the filmmakers’ vision to life.
The work I do is about solving creative problems for filmmakers, helping them translate their vision into a powerful, emotional experience for the audience. Whether it’s designing a score that highlights a film’s key moments or creating motifs that develop characters musically, my goal is always to serve the story in the best way possible.
In the end, the experience of composing for “Godzilla x Kong: The New Empire” serves as a reminder of our role as composers: to fully understand and embrace the director’s vision and to deliver work that makes them proud. This film is a testament to my journey and a reflection of the growth I’ve experienced throughout my career.
Let’s talk about resilience next – do you have a story you can share with us?
From an early age, I knew my path lay in becoming a composer. I wasn’t concerned about the genre—whether it was classical concerts, film scores, or opera. What mattered to me was that I would need to express myself through my own music and voice. Growing up in Italy, a country rich in artistic history but where art often struggles for support—especially classical and film music—the beginning of my career was anything but easy. Despite the cultural legacy, funding for music was scarce, and I won’t delve further into that. At the age of 18, I began collaborating with other composers and conductors, working as a composer, orchestrator, and conductor. Yet, despite the passion I poured into it, it wasn’t enough to sustain me—both financially and personally. I needed something more stable, more fulfilling.
That’s when I set my sights on becoming a film composer. However, I quickly realized that in order to achieve this dream, I would need to move to the heart of the film industry: the United States, the true homeland of film music.
Every step I took from then on was driven by an unwavering determination to find my purpose. It was this visceral desire that fueled me through the many sacrifices I had to make along the way. In hindsight, my only regret is not having taken that leap sooner. After graduating from the Music Conservatory in Italy, I was eager to join one of Los Angeles’ most prestigious Film Scoring Programs. Unfortunately, despite my best efforts to earn enough money to cover the tuition, I was unable to find a well-paying job in my country. Frustration set in, but I refused to let it deter me. After spending years trying to make it work, fate led me down an unexpected yet profitable path. I began participating in international composition contests, and I won several, including the prestigious FMF Film Music Festival in Krakow, where I had the privilege of meeting influential Hollywood professionals in film music.
Despite this success, another obstacle loomed: securing a visa to work in the United States. For any foreigner, this can be an arduous process. I discovered that in order to obtain an O-1 visa, there were numerous stringent requirements and qualifications I had to meet. I spent a full year meticulously working to satisfy each criterion, tackling every bullet point and specific demand. Finally, after all the pieces were in place, I submitted my application with the help of an immigration lawyer in Los Angeles, and to my immense relief, my O-1 visa was approved without delay.
In 2015, I made the pivotal move to Los Angeles, where my true adventure began. The first six to eight months were tough, and I took on various gigs as an orchestrator and copyist just to make ends meet. But I remained resilient, knowing that persistence would eventually open doors. In 2016, after fighting tooth and nail for every opportunity, my determination paid off. I landed one of the most incredible positions I could have ever hoped for—assistant and additional composer for one of LA’s top film composers, Tom Holkenborg, also known as Junkie XL.
This journey taught me one invaluable lesson: no matter how long it takes or how difficult the road may be, if you believe in something deeply and are willing to sacrifice for it, nothing can stand in your way.
Yet, through all of this, my original love for music in all its forms has never wavered. I’m always excited by new challenges and opportunities to blend my classical training with different mediums. Whenever I can, I return to my classical roots, using them as a source of inspiration and refuge. As a composer, my need to write is constant—it’s not bound by the form or the platform. Whether I’m composing for theatres, films, video games, or concerts, my primary aim is to evoke emotions in both the audience and myself. Music is a language that communicates what words cannot, and through my work, I strive to convey the emotions and ideas that dwell within me. Ultimately, it is the connection with others, the ability to make them feel, that gives my work meaning.
Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?
I would describe it more as a mindset shift rather than an unlearned lesson. There is a significant difference between composing for film and composing classical music. For young composers just entering the industry, it may not be immediately clear that a film music composer is, in many ways, at the service of the director, producers, and studios. When I made the transition from the classical music world, where the music itself takes center stage, to working on my first major film in LA, *The Dark Tower*, I realized my mentality needed to change completely. However, it wasn’t a difficult process; it was a natural learning curve that I quickly understood and embraced.
The primary role of a film composer is to evaluate the movie, enhance the storyline, and amplify the emotions—essentially to support the film in the most meaningful way possible. It’s crucial to recognize when to let the music take a step back and when to push it forward, carefully avoiding overloading scenes with unnecessary sound or overdoing it with complex scores. Sometimes, the most powerful thing a composer can do is “create” silence when the moment calls for it. The goal is never to show off, but rather to bring a diverse skill set to the table, which becomes the film composer’s greatest asset.
As long as these principles are accepted, maintaining a constructive dialogue with the filmmakers becomes key. The relationship should be built on a mutual desire to improve the film, as that is the ultimate objective. A composer’s role is to contribute ideas, offer solutions, and share their creative insights, all while bringing the knowledge and experience they’ve gathered through training and past projects. This collaboration and exchange of ideas is vital in achieving the best possible outcome for the film.
Contact Info:
- Website: https://www.antoniodiiorio.com/
- Instagram: https://www.instagram.com/antonio.di.iorio_composer/
- Facebook: https://www.facebook.com/antonio.d.iorio.31
- Linkedin: https://www.linkedin.com/in/antoniodiiorio/
- Twitter: https://x.com/AntonioDiIorioC
- Youtube: https://www.youtube.com/@antonio-di-iorio
- Soundcloud: https://soundcloud.com/antonio-di-iorio
- Other: IMDb
https://www.imdb.com/name/nm5151112/IMDb pro
https://pro.imdb.com/name/nm5151112
Image Credits
Wojciech Wandzel
Amy Sussman