Meet Antonio Di Iorio | Composer for Film, TV, Concert, Conductor, Pianist

We had the good fortune of connecting with Antonio Di Iorio and we’ve shared our conversation below.

Hi Antonio, how has your background shaped the person you are today?
I am an Italian, Los Angeles-based music composer for Film, TV, and Classical Concerts. First and foremost, I am a classically trained composer, pianist, and conductor, with respective diplomas and master’s degrees in Piano, Composition, and Orchestra Conducting obtained both in Italy at the Music Conservatory and in the United States. Over the years, I gradually began building my path, which, after some films, shorts, Italian TV shows for the SKY TV channel and more, involved closely working with directors on award-winning films such as “Wings Over Washington”, “Il Viaggio”, “Jacks”, “Life In Between”, and “Spirito Eroico” (for the Olympic Games in Vancouver 2010).
After winning awards in important international composition competitions such as the Krakow Film Music Festival, Bucchi, and SKY Vancouver, and narrowly missing first place at the Transatlantic Composition Competition, along with receiving two nominations at two editions of the Hollywood Music In Media Awards, I decided to move to Los Angeles to pursue opportunities in this area.
My journey led me to become an in-house Senior Assistant and Additional Composer for Tom Holkenborg (aka Junkie XL, author of “Mad Max Fury Road”, “Deadpool”, “Batman vs Superman” with Hans Zimmer), thanks also to the ASCAP Television & Film Scoring Workshop which I attended in 2014. Being able to work alongside such a nice and talented composer, who became my mentor immediately, was such a blessing. I spent four years at Tom’s studio in LA (2016 – 2020). He was on the lookout for an assistant with a classical/orchestral music background to dive into new films with a strong focus on orchestral elements. From day one, I felt like I was at home. His goal was to create a comfortable work environment built upon trust and support. What I loved most was that Tom didn’t see me as just a regular assistant. From the first movie onwards, he gave me the opportunity to be a full-time additional composer. I was writing my own cues and making a meaningful contribution to his movies. In addition, it was an amazing experience because I had the chance to explore also the sound design and electronic aspects of film scoring, experimenting and creating new soundscapes on my own and ultimately integrating those new sonic elements into the orchestral writing, my comfort zone.

I contributed additional music to “Mortal Engines” (MRC/Universal Pictures) by Peter Jackson; “Alita: Battle Angel” (Twentieth Century Fox) by Robert Rodriguez and James Cameron; “Sonic The Hedgehog” (Paramount Pictures) by Jeff Fowler; “Terminator: Dark Fate” (20th Century Fox, Skydance, Paramount Pictures, Lightstorm) by Tim Miller and James Cameron; “Tomb Raider “(Warner Bros./GK Films) by Roar Uthaug; “The Dark Tower” (Sony/Columbia Picture) by Nikolaj Arcel and Ron Howard; “Distance Between” Dreams (Red Bull), “Zack Snyder’s Justice League” (Atlas Entertainment and HBOMax) by Zack Snyder (uncredited).

Tom was not only a good mentor to me, but we were also good friends (and still are) and I’m grateful for the journey I shared with him and the other assistants, both old and new, who joined us step by step, whom I instantly became close to. After my fruitful years with Tom, we mutually decided it was time for me to venture into my own career. My first job as a freelance composer was working on “Godzilla vs Kong” (Legendary Entertainment, Warner Bros) by Adam Wingard, on my own still as an additional composer.

In 2021, I began collaborating as an additional composer with renowned Pinar Toprak (“Captain Marvel”, “Krypton”, “Stargirl”), providing additional music for movies like “PAW Patrol: The Mighty Movie” (Paramount Pictures) by Cal Brunker; “The Lost City” (Paramount Pictures) by Aaron Nee and Adam Nee; “Shotgun Wedding “(Lionsgate) by Jason Moore; “NFL Thursday Night Football” (Amazon Prime), and other projects. Lately, in 2022 I had the pleasure of working alongside Henry Jackman (“Jumanji” saga, “Kingsman”, “Kong Skull Island”) contributing additional music for the movie “Strange World” (Walt Disney) by Don Hall and Qui Nguyen “Red One” by Jake Kasdan (Amazon Prime). Then, I worked for Alex Belcher, contributing additional music to the TV series “Citadel” (Amazon Prime) by Anthony Russo and Joe Russo.

After 2-3 years apart, Tom and I reconnected. Specifically, I stepped into a more prominent role working as a credited co-composer with him composing the music score of “Godzilla X Kong: The New Empire” (Legendary and Warner Bros) by Adam Wingard, released on March 29th, 2024 worldwide. After its release on March 29th, the movie remains the top box office hit. When you are co-credited alongside a respected composer, it means you have not been doing bad work after all. It is a long-awaited milestone that triggers a whole new adventure, however, still represents the first chapter of a newer exciting journey.

Let’s talk shop? Tell us more about your career, what can you share with our community?
Professionally, my journey to reach where I stand today has been marked by an immensely challenging path. As it happens to many colleagues and aspiring composers, moving from your home country to the other side of the globe, in my case from Italy to LA, requires a huge amount of sacrifices, renounces, to say long-lasting goodbyes to your beloved ones, and substantial financial investments.

The idea of becoming a music composer was crystal clear to me from an early age, no matter what the scope of my writing was, whether it was classical concerts, film music, or opera. What mattered was the need to express myself through my own musical language. In my homeland of Italy, where the arts, especially classical and film music, struggle due to funding issues, the early years of my career brought significant challenges. At 18, I started collaborating with other composers and conductors, fulfilling roles as a composer, orchestrator, and conductor. However, financially and personally, those collaborations weren’t enough to sustain me.
For my own survival, I decided to pursue a career in film composition, recognizing the USA as the true homeland of film music. Every move and decision since then has been driven by a determined desire to find my purpose, with my only regret being not making those sacrifices sooner. After graduating from the Music Conservatory in Italy, I wished to join one of LA’s prestigious Film Scoring Programs. However, even though I tried hard to find a lucrative job in Italy, I was unable to earn enough money for the tuition. As a result, I had to abandon that dream.
Instead, I pursued another avenue: international composition contests. Winning accolades at events such as the FMF Film Music Festival in Krakow brought me into contact with Hollywood professionals. And immediately after, participating in the ASCAP Television & Film Scoring Workshop 2014 in Hollywood contributed decisively.
Securing a working visa was the next hurdle, which took meticulous effort and a year’s dedication to fulfilling requirements and processes with a Los Angeles immigration lawyer.

Upon moving to Los Angeles in 2015, I began working on various gigs as an orchestrator and copyist in order to pay my bills. Eventually, in 2016, I landed a dream position as an assistant and additional composer for Tom Holkenborg (Junkie XL). This journey taught me a valuable lesson: achievements require unwavering belief and hard work.
I thrive on embracing fresh challenges and exploring new avenues, also sonic-wise, where I can utilize my classical training and explore new ways and acquire new tecquiques. The journey of learning is a lifelong process. Crafting top-tier projects that resonate with audiences is a profound source of fulfilment in my life. Whether through theatre, film, cinema or concerts, my wish and scope is to express my art with the intention of evoking emotions in both the audience and myself. Ultimately, my primary objective is to experience emotions, connect with others, and authentically convey the depths of my deepest feelings.

Regarding a specific lesson learned along the way, it would be more accurate to describe it as a mindset shift than an actual lesson. The distinction between film music and classical music is vast. For young composers entering the industry, it’s often unclear whether the film composer serves the directors, producers and studios. Transitioning from the classical music concert environment, where the music takes centre stage, to working on my first major film in LA (The Dark Tower), required a complete mental adjustment. However, it wasn’t a difficult process; rather, it was a fair learning curve that I quickly grasped and embraced. For a film composer, the primary role is to enhance the movie’s storyline and evoke emotions. It is crucial to understand when to dial up or down the music, avoid overload, and even create moments of silence when it is necessary. The most valuable asset of composers is their versatility, not their ability to showcase themselves. Communicating constructively with filmmakers is essential to improving the film. Composers should share their thoughts, solutions, and ideas while drawing upon their knowledge and experiences gained from training and past works. This collaborative approach is essential for success in film composition. Networking is another word we hear frequently. It is true, networking makes it possible for composers to expand their circles of known people and to work on a variety of projects.

If you had a friend visiting you, what are some of the local spots you’d want to take them around to?
A week in Los Angeles with my best friend would be filled with unforgettable moments and treasured memories, from beachside bliss to cultural exploration and culinary delights. I would be grateful to have the opportunity to share this experience with my favourite person.
Our adventure would start with a relaxed day at Venice Beach as my best friend arrives. Enjoying the sun, watching skateboarders at the Venice Skate Park, and grabbing some delicious bites at one of the beachside cafes, we would immerse ourselves in the atmosphere.We would let ourselves get captured in the glitz and glamour of Hollywood. Walking along the Walk of Fame, catching a movie at the iconic TCL Chinese Theatre, and hiking up to the iconic Hollywood Sign are all part of our Hollywood history tour.Taking a closer look at LA’s many cultures is also on the “to-do list”. As we wondered at its art collections and enjoyed the stunning views of the city, we would spend a day at the Getty Center. In the evening, we would enjoy a concert under the stars at the Hollywood Bowl, surrounded by the iconic amphitheatre’s unique atmosphere.
For a day, we would escape the city to Malibu. In Malibu Creek State Park, we would hike through nature’s beauty before cooling off at El Matador Beach. Overlooking the Pacific Ocean, we would end the day with a seafood feast.
Then, beginning with brunch in Silver Lake and sampling local favourites like avocado toast and artisanal coffee, we would embark on a culinary adventure. Following that, we would explore Grand Central Market, eating tacos, tortillas, and other global treats. In the evening, we would enjoy dinner at a trendy rooftop restaurant with panoramic views of the city.
The next day we would take a look at the top attractions today. We would visit Griffith Observatory for its stunning views and hike the trails around the Hollywood Sign.

Who else deserves some credit and recognition?
I’d like to extend a heartfelt shoutout to several individuals and groups who have played pivotal roles in shaping my journey and supporting me along the way.

First and foremost, I owe an immense debt of gratitude to my parents, family and beloved ones. Their unwavering support has been the bedrock of my success, both emotionally and economically. From the monumental decision to move to the US to every subsequent choice I made, they stood by me, making countless sacrifices along the way. Their belief in me has been my greatest source of strength.

Next, I would like to express my gratitude to the Film Music Festival in Poland, where I won the second prize in 2013 and the first prize in 2015. This experience opened doors to crucial connections in the industry, particularly in Los Angeles. Attending this event paved the way for my first trip to LA, where I embarked on a transformative journey, largely thanks to a professional individual from the LA film world who turned out to be the most relevant support in my journey.

In LA, the ASCAP Film & TV Workshop in 2014 proved to be a turning point. It provided me with invaluable opportunities to network with professionals in the Hollywood film industry and film music business. It was here that I encountered another key figure who played a pivotal role in my career path, ultimately leading to life-changing opportunities.

I am deeply grateful to Tom, Pinar, and Henry, esteemed composers whose mentorship and guidance have been instrumental in my growth. Learning from their expertise has enriched my craft, and the chance to contribute to their projects has been an honour. Special mention goes to Tom, for the opportunity he gave me to work with him as a credited co-composer on “Godzilla x KJong: The New Empire.” It was a defining moment in my career, marking a significant milestone in my journey as a composer.

To all those who have supported, mentored, and believed in me, I extend my sincerest thanks. Your contributions have shaped my path and fueled my passion, and I am forever grateful for your presence in my story.

Website: https://www.antoniodiiorio.com/

Instagram: https://www.instagram.com/antonio.di.iorio_composer/

Linkedin: https://www.linkedin.com/in/antoniodiiorio/

Twitter: https://twitter.com/AntonioDiIorioC

Facebook: https://www.facebook.com/antonio.d.iorio.31

Youtube: https://www.youtube.com/@antonio-di-iorio/featured

Image Credits
Wojciech Wandzel
Amy Sussman