Felix Lindsell-
Hales

Working between film, television and contemporary music, Lindsell-Hales brings a combination of formal composition, orchestration and hands-on experience within professional film and television sound to his work. Alongside his career as a composer, he works at Bang Post Production, one of the UK’s established audio post-production facilities, whose credits include major television productions such as Doctor Who, Sherlock, Good Omens and Gangs of London.

Creating the Sound of Blood Star

For Blood Star, the challenge was not to fill the film with music, but to understand when music should appear and when the landscape itself should be allowed to dominate.

Set largely on empty roads and in isolated desert locations, the film uses silence, distant vehicles, engines, wind and environmental sound as part of its suspense. Lindsell-Hales’ score sits inside that world rather than simply being placed over it.

The music gradually develops alongside Bobbi’s journey, moving from restrained atmospheric textures into increasingly threatening and emotionally charged material as the Sheriff’s pursuit closes around her.

Rather than announcing danger in a conventional way, the score often works almost subconsciously, creating the sense that something is wrong before the audience fully understands why.

A Score Built Around Dread

One of the key tonal references during post-production was the restrained approach to music found in films such as No Country for Old Men. The intention was never to imitate another score, but to create the same feeling that violence could emerge at any moment from an apparently quiet landscape.

Lindsell-Hales took that starting point and developed a musical language specific to Blood Star.

The resulting score combines atmospheric textures, subtle electronic elements and more traditional compositional techniques, allowing the music to move between psychological unease and moments of genuine emotional weight.

As the film becomes increasingly claustrophobic, despite taking place in enormous open landscapes, the score helps turn the desert itself into part of the threat.

From Composition to Professional Audio Post

Lindsell-Hales’ wider career also places him directly inside the professional film and television sound industry.

He works with Bang Post Production, an award-winning audio post facility operating from Cardiff and London. Bang provides sound services for high-end television and feature films, including ADR, sound editing, Foley, mixing and Dolby Atmos production.

The company has a longstanding association with major British television, including Doctor Who and Sherlock, and its sound teams have received BAFTA, Emmy and other industry recognition.

That environment gives Lindsell-Hales an unusually broad understanding of how music functions as one element within an entire soundtrack — alongside dialogue, sound effects, Foley, ambience and final mix.

This understanding is particularly important in Blood Star, where the relationship between music and sound design is deliberately restrained.

Composer for Film, Television and Games

Away from Blood Star, Felix Lindsell-Hales works across film, television, documentary, commercial and interactive projects.

His work has appeared in projects connected with Netflix, Amazon Prime, Channel 4, Apple TV and BBC Wales, alongside commercial work including Jaguar Land Rover.

He is represented by DNA Music and trained in composition at the Royal Welsh College of Music & Drama, developing a foundation in orchestration, score preparation and writing for live musicians.

His work ranges from dark cinematic and psychological scoring to orchestral composition, songwriting and contemporary production.

Music as Part of the Story

The score of Blood Star was conceived from the beginning as part of the film’s wider approach to tension.

The film deliberately avoids constant musical signalling. Long passages allow the environment to carry the suspense, meaning that when music does enter, it has considerably greater dramatic weight.

Lindsell-Hales’ score helps move the audience through Bobbi’s changing emotional state without telling them explicitly what to feel.

It is another example of the collaborative approach behind Blood Star: cinematography, editing, sound design and music all working toward the same objective — turning a seemingly limitless American landscape into somewhere from which escape becomes increasingly difficult.