Composer Christophe Beck and music supervisor Kier Lehman on how they captured the film's titular hero through music.
You have separate jobs on a film, but there seems to be some overlap in terms of what you’re doing here with this soundtrack. Can you start by talking about your approach and what discussions you had with the directors about what they wanted to get from your respective work?We talked a lot about the setting, which is unique. It’s a combination I have never seen before — this medieval environment where you’ve got knights with swords and cell phones.
that uses string instruments and vocals. It’s also remixed throughout the score to different emotional tones, emphasizing that concept that she’s dynamic — never one thing. How did you want those differing sounds to shape the totality of her as a character musically?You’re correct.
So we were trying to find that energy and either create it or find the songs that existed that still have that. Dope Saint Jude, which is a more modern artist, is the first we hear as far as the songs and that introduces the movie in a way. I liked having that more modern take on that sound and that attitude and that feeling as we get started and help set up a movie — as we were talking about earlier — that exists in kind of two different times: medieval and futuristic.
That’s an incredibly pseudo dramatic scene where we want the audience to feel like this murder is actually happening, but we pull the rug out from under their feet. We wanted to give the audience a chance to exhale a little bit and have a little fun after a moment we were hoping they were like, “Holy crap, what is going on?” I think there are very few of the horror beats that you’re talking about where I actually go along with that and do a big scary music blast.
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