Podcast Interview with Hannibal’s Brian Reitzell

March 4, 2016 | By

Some technical issues prolonged the completion of my latest podcast with Hannibal’s composer Brian Reitzell, but the piece is now available in audio-only versions via iTunes [note: feed should be updated shortly] and Libsyn, and as a visual podcast on YouTube:



It’s been a while since I’ve done a podcast with extensive visuals, and this is the first where the entire conversation was fed into a vintage video synthesizer, a Showtime Video Ventures Video Colorizer (circa early 1980s), plus two cue extracts matched with ‘animated’ abstract visuals as well.


VV Colorizer - VV gizmo

Still from the short making-of featurette (linked at Big Head Amusements) showing the main gizmo used to create the primary visual effects in my Brian Reitzell podcast, a Showtime Video Ventures Showmaster Video Colorizer VC-1 from the early / mid-1980s.

Brian Reitzell Podcast - FINAL.Still003

Example of ongoing visual patterns in the Brian Reitzell podcast.


Those adverse to strobing images might want to stick with the audio podcasts, or check out some making-of details and stills (plus links to HD extracts) beforehand at my filmmaking site, www.bigheadamusements.com.

HannibalCD_comboI actually interviewed Reitzell for Lakeshore Records’ release of Season 2’s music, but our conversation still applies to the music of Hannibal’s third and final season.

I reviewed Lakeshore’s CD in this month’s Rue Morgue issue, along with Bear McCreary’s The Forest (released by Sparks & Shadows), where McCreary invoked his inner Christopher Young.

In our roughly half hour podcast Reitzell, whose 30 Days of Night (2007) is a personal favourite (all those gnashing sounds are quite soothing), discusses scoring Hannibal, musique concrete, the Philips Prosepctive LP series, Tangerine Dream, and vintage analogue synthesizers. (It was a really fun interview, and special thanks to Beth Krakower at the Krakower Group for facilitating the Q&A.)

The next ‘visual podcast’ will be bonus material complimenting an upcoming review of Kino’s The Mask (1961), Canada’s first feature-length 3-D and horror flick.




Mark R. Hasan, Editor

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