The score

You know, making sure that the rhythms of the sequence are getting kind of faster and faster. And the camera moving, and having to be aware of where everything was in the order in which it was happening, so you're feeling a visual progression. And the music is building, it's building. And then right here, the cue just takes a moment to breathe coming up. I love this. Speaking of music and speaking of war. 45 seconds. Yeah. Yeah, these are... Here we go, music stops now. Yeah, I love it. This is a sequence that really didn't come together

44:05 · jump to transcript →

it was decided very early on to put Gabriel at the center of the scene. Now, this is where we leaned into the sound design and the score, but you really hear James Mather's malfunctioning Sonos soundbar here. And he had recorded it on his phone and he played it to us and he just said, how about this? And we leaned into it. He recorded about five minutes of it. And there was a point where he was playing bits of fallout through his soundbar and recording it, but it's so distorted you can't tell. With...

1:24:34 · jump to transcript →

This was... Listen, you just have to imagine me listening to this stuff when I was 12 years old. I know. Listening to my DVD commentaries, and this is where I have my film skills. So honestly, dive in and be... All the dorky stuff is what people want to hear. I love it. That's why we're... Okay, so I can do some dorky editorial stuff real quick. So if you want... So the Sony Venice camera shoots at 6K, and in the Avid Media Composer timeline, we're actually using ultra-high-definition...

1:49:34 · jump to transcript →

Edward Berger

that gets thrown on the ground. And we read the name of the kid that got disposed of. But luckily for the German army, they had another uniform. That's the cynicism of it. I mean, you've heard the music by now. This amazing sound that Volker created.

12:43 · jump to transcript →

Edward Berger

He recorded it. I showed him the movie when it was pretty much locked in this state. And Volker Bertelmann, our composer. And I told him four things. First of all, I wanted something that sounded different from anything else that I've ever heard before. And also anything else that he'd ever done before. Secondly, I wanted a sound...

13:12 · jump to transcript →

Edward Berger

And I wanted a drum that is not like a beautiful marching military drum, but almost like a guy with two left hands. A person that can't play the drums was supposed to play the drums. Of course, we never found one. It was the most difficult piece of the score to record, this drum, because I was so specific about it. And I think we recorded about 50 different drum sounds until I finally was like, OK, this is the one. I want this one.

36:21 · jump to transcript →

Those trunks were incredibly heavy and broke the floor on a take when they were dropped. The gentleman that's holding that hawk is Robin Carolan, the composer of this movie. The music that we just heard, you don't really see the musicians in the hall with the way we've edited it.

4:58 · jump to transcript →

hockey or irish hurling or scottish shinty and it was super violent there are some scholars who believe that they didn't score points the way the way that we do and that it was just like you know you were playing with the ball but it was really about who's the last man standing and that's it

1:08:22 · jump to transcript →

by James Harrison and his team, and particularly Damien Volpe, who worked with me on The Lighthouse and my short films, is certainly, like, cool. And the score here is pretty interesting. That whirring sound is based on a bull roarer, which is a Viking Age instrument, but then Robin and Seb's

1:26:03 · jump to transcript →

Nia DaCosta

And this is the first time we hear the theme, or the second time we hear the theme, that Hildur Gudénadottir, our composer, wrote, which I absolutely love. ...clouding it, not replacing it. This is the beginning of a slight shift in Samson's look, which we do throughout the film.

19:17 · jump to transcript →

Nia DaCosta

And he had this great building... And here, we reprised the barn score. The daytime barn score. As we're... Now we're talking about... So that wasn't supposed to happen then. Anyway, yeah, the whole thing was supposed to collapse in a very specific shot. It didn't. And then they were like, "Well, it's going to collapse when it collapses." Because again, the building was really burning, and it collapsed in the middle of that shot. And thankfully, my amazing camera operator was like, "I got it." I think that was Sean, actually. And then Fran, who... who pulls focus for him, was like, "I got it." So it was just really... It was all really great. Now we have some Radiohead, which I love, and some more of this wonderful time-lapse footage that we have throughout the film.

54:46 · jump to transcript →

Nia DaCosta

You have a bit of a score coming in here. Hildur Guénadottir and her music editor, Jason Ruder, who's amazing, just knocked it out of the park, I think, with this score. It's weird. It's different. But then also when the theme, which will kick in again in a few minutes, it's like this mix of, like, brutal and disturbing, but also beautiful. And I just love what they did and what we got to with this.

1:30:23 · jump to transcript →

Mm-hmm. Generous hole. So are we recording this, or is this what we're going to want? God, I love this music so much. Yeah, yeah. Rich Vreeland is the composer, and he is such a genius, and he's like...

6:36 · jump to transcript →

He's incredible at everything that he's made that I've heard, but none of it sounds anything like this, and none of his other work sounds anything like anything previous. For example, he made the music for It Follows, and then I think got a call from the people that were making Stranger Things, and were like, we want you to do the score, because we want it to sound like It Follows. He's like, no thanks. Wow. I know. That's an artist. Cool.

7:05 · jump to transcript →

And this is one of my favorite scenes in the film. Just two people talking, two cameras rolling at the same time. And I think we got this on... I think take one was fantastic. We did one for safety. And I think it's a mix of just two takes, whereas you kind of expect more time spent on such a key scene, but you guys were so great. And right here, Connie's with a little bit of the wet eye. Well, she's great. David Buckley's fantastic score underneath.

34:30 · jump to transcript →