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.
This was an interesting project because I think at first we were pushing it very dark, and Brian liked that, and everyone on the team did, I think, in principle… when they started trying it in the edit, I think it had lost some of the sense of fun. We know they’ve all died, so it was sort of like because we were going so dark with music, it was overdoing that point. We then had some time to go back and keep a lot of what I’d done, but then also try some more playful elements, which is where I brought in some of the Aztec instruments, like the ocarina and shakers, and played with it a little bit more and having more fun with it.
I worked closely with Damian Volpe, who is one of the main sound designers. Essentially we tried to isolate what was most important. Rob wanted a lot of music for this film to be big and in your face. I also knew Rob wanted a lot of sound design, especially in like, a lot of the Orlok scenes. When we’re in the castle things need to suddenly start to feel otherworldly and kind of like off. You wanna make sure that those two things are in harmony and they’re not clashing or competing.
“There is this sort of deep musical culture of the Henson creations. He wasn’t a musician per se, but he was obviously very musical.”
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.”
