Fans of 2000s-era big-beat electronica music knew Junkie XL for his studio albums and remixes of giant artists such as Justin Timberlake, Fatboy Slim, Britney Spears, Depeche Mode, Coldplay, Scissor Sisters, and many others.
His electronic music often had epic qualities to it, and perhaps that’s one knack that enabled Holkenborg to successfully transition into being an incredibly busy and successful film composer in less than a decade’s time.
After a few initial forays into composing music for films and video games, Holkenborg began collaborating with Hans Zimmer—always a good career move—on movie scores for hits such as Inception (2010) and the Dark Knight Rises (2012).
Those experiences helped lead to gigs as a primary composer. As Junkie XL, he scored 300: Rise of an Empire (2013) and others, but his big breakthrough came as the primary composer for the commercial and critical smash Mad Max: Fury Road (2015).
Since then, Holkenborg has hit the action movie A-List, composing Deadpool (2016), The Dark Tower (2017), Tomb Raider (2018), and the big-budget Robert Rodriquez flick coming up in December 2018, Alita: Battle Angel.
Almost three years ago, Holkenborg introduced his Studio Time YouTube series, where he holds nothing back in explaining everything about how he made certain cues from his movie scores, including showing the full DAW sessions, the plug-ins he uses, and looks into his impressive studio, complete with massive modular synthesizers.
Just days ago, he wrapped up a 4-part Studio Time mini-series on composing cues from Tomb Raider, including some that are very electronic—rather than orchestral—in nature.
You can view the other Tomb Raider Studio Time episodes below, and check out Tom’s very active YouTube channel for much more, including his answers to frequently asked viewer questions.