The Last of Us is currently in the midst of its acclaimed second season. Based on the beloved and iconic video game franchise and adapted for HBO by Craig Mazin and Neil Druckmann. The story of a fungal infection that turns people into zombie-like creatures. It features a stunning score by Gustavo Santaolalla and David Fleming that captures the warmth of the characters and the chaos of the situation. Fleming recently spoke to Immersive via Zoom.
[This conversation has been edited for clarity and length]
Tell us about how you first became familiar with The Last Of Us.
I knew of the game but didn’t play it. I didn’t know Gustavo’s music for the game well, but I did know his music for other projects, The Motorcycle Diaries is one of my favorite scores. So when I got the call to be a part of season one, I had an idea of how to wrap an action score sound around the world he had already created. I was called in later in the first season specifically for tension cues. Anytime there’s a panic attack that needs to happen, that’s when I get involved. My role in season two has expanded with the size and scope of the season.
What’s it like working on something so popular? There is much anticipation for every episode.
Working on the show has been pretty eye-opening to what it’s like encountering a real rabid fan base. The series was able to build on top of that. With season two, I definitely could feel the buzz in a way that doesn’t surround every project. Something about the story makes people feel like they’re a part of it.
Apocalyptic shows are more prominent now. You kind of wonder what that’s all about. People gravitate towards them.
There’s something specific about the way this story treats it. This is not a zombie show. We’re dealing with an infection and infected people, and it’s as much about life going on as it is about the catastrophe.
Talk about the balance between chaos and the softer moments on the show…
The score is taking Gustavo’s side of the score, which has shepherded the human sound of this story, and juxtaposing it with the chaos I’m capturing. I think there is a little bit of devastation in what he’s done, and there’s humanity in what I’m doing. Ideally, they’re always a bit linked. I do think that the power of the score is that it has two sides. That’s the heart of the show.
What sort of challenges were there? Do you always have to “go to 11”? How do you dial that down where it’s just right?
I’ll be honest. You’re touching on an issue that came up several times in the season. I’d be working on something I thought was a ten, and then Craig would come along and say, “Are we at a five here or something?”
The size and scope of the action set pieces have really increased this season; there’s one in particular that’s pretty massive. There was a conversation about how we can make it feel like we are off to the races, and the temperature’s increasing the whole time. I think the other aspect is making sure that the sonic characteristics of my world and Gustavo’s world feel like they work together.
What were some challenges of adapting a video game to the screen?
In translating this story from a video game to a TV show, you’re taking something that’s like an active medium where you control the character, essentially the main character, to a passive medium where we’re watching characters. I feel like a lot of my job and what Craig and Neil asked me to do was to try to make it an active experience. It’s supposed to feel like something happening inside of you and hopefully trick you into feeling a lot of what someone plays when they’re playing a video game.
It’s kind of interesting how prevalent video game adaptations are now. A recent poll suggested that people prefer video game storylines to movies and television.
For a long time, the film world has looked down on the source material. They would alter the material, which always proved to be a losing formula for the most part. One of the things that the first season of The Last Of Us showed everyone was if you embrace the game’s storytelling, the source material is amazing. If you do this, not only are you getting this story that’s touched so many, but you are also pulling them along with you, and you’re not insulting these people who put so many hours into living these characters.
Talk a bit about working with Craig Mazin…
He’s very funny in real life. He cares so much about the story and really protects it. He’s really involved in the music and is also very interested in the sounds that I’m using and which ones are working for the world and which ones aren’t. By the time we’re finished with an episode, it’s really dialed into what we both think should work.
What’s it like being on the other end of this now?
I’m excited to see that there is so much buzz about the show. I just feel lucky to be a part of this story. You don’t always get to work on projects that all your friends enjoy watching, and it’s always cool to talk to some of my own friends about something I’m working on.
The Last Of Us Season 2 is currently airing every Sunday on HBO and streaming on MAX.
