True Detective: Night Country composer Vince Pope turns up the horror for the latest addition to the HBO series.
“Cut from Cooper Howard to the Ghoul where everything gets dismantled with broken instruments and rattling things and scratching.”
Mr. & Mrs. Smith composer David Fleming didn’t want a familiar score for the spy thriller. He wanted to write the arthouse version of one.
Composer Julia Newman captures the fantastical, sometimes tantalizing and heavy weight of the upper-class hellscape.
“We’re having the most fun when we write something that goes really hard. I think part of going hard is we also go hard in the feels department.”
“Guy Ritchie definitely likes to come up with alternate perspectives on everything and turn things on their head.”
“I love this project so much because it hits all the things that I love to put into scores, which is weird and zany, funky things, just fun textures and layers that’s not always melody.”
“We had made the decision that the score was going to reflect a lot of the other elements of production that were period specific. In a way, a lot of the filmmaking was as if the show was made in 1969, not just set in 1969.”
“Ultimately, I do think of this as a craft. I don’t think of this as art.”