From London choirs to Marvel scores, Henry Jackman has done it all—and then some.

In the latest episode of Pizza Film School, the Russo Brothers sit down with the composer behind Captain America: The Winter Soldier, Civil War, The Gray Man, Cherry, and The Electric State for a conversation that’s as melodic as it is mind-blowing.

How It All Started: Classical Roots and Breakbeats‍

Jackman’s musical journey began with sticker-labeled piano keys and a full-time place in the elite choir of St. Paul’s Cathedral by age 8. He went from learning harmony through Handel to staying up all night in London clubs, absorbing the wild, gritty energy of 90s rave and drum and bass culture. That blend of classical rigor and electronic edge? It would later define some of the most iconic modern film scores.

“Suddenly there was this music that was completely unacademic and unclassical—and it was really good.”

Winter Soldier’s Screaming Soul

When the Russos first heard the warped, bone-chilling scream in Jackman’s Winter Soldier suite, they knew they had the movie’s heartbeat. That sound? A human voice, shredded and distorted until it felt like a fractured soul.

“It’s Cap’s best friend, mechanized and trapped inside. That scream had to hurt.”

Scoring Cherry: The 10-Minute Suite That Changed Everything‍

Jackman wrote a sweeping suite for Cherry before seeing footage. That 10-minute piece eventually became the emotional core of the film’s last act—and inspired a new way for the Russos to edit to music.

“It was like scoring a dream before it existed—and watching it become real.”

On Superhero Opera, Civil War, and Writing Without Irony‍

From the mythic clash in the Civil War airport scene to the operatic final moments of Cherry and The Electric State, Jackman talks about making music for stories that are heightened, bold, and emotionally raw.