Ludwig Göransson strategically avoided an entire instrument family and built one of the most beautifully agitating movie soundtracks.
. The director, who had a fruitful and influential collaboration with Hans Zimmer for many years, is known for taking particular care with his scores. He and Göransson both seem to approach film music on conceptual and emotional levels.After I read the script, one of the things he mentioned was that he wanted to experiment with an instrument and a sound: He was envisioning the violin, and I thought that was very exciting. I wasn’t surprised, but I thought it was great challenge.
Absolutely. He is such a complex, obviously genius character, but I think at times not a lot of people can understand him. As its core, his theme is played by the violin in a very simple, intimate way with six notes. But throughout the movie, I have that theme with a lot of crazy, mathematical, rhythmical, complex ideas around it. When I first started working on the movie, Chris invited me to an early screening of some of their visual experiments.
These recurring visual motifs — swirls of light, sparks, droplets, and ripples, all these little elements — show us how Oppenheimer sees the world, or how someone with this kind of knowledge might see the world. So what did that mean for you musically? In this movie, especially, I started out writing all the music with little to no computers because I wanted to capture the essence of the emotional aspect of Oppenheimer first. It was important that we got that melody and the emotional core of the tone first, and then after that we could experiment with rhythmical patterns and synthesizers. And as the movie pushes forward, there’s more production coming in.
For example, doing this constant changing of the tempo, when I was first thinking about it, I was going to record four bars, four bars, four bars, and then digitally mash it all together because I didn’t think it was playable. But when we started recording it with these incredible musicians, we came up with a way to give the musicians the new tempo before the tempo changed. So when they were playing in one tempo, two bars before the tempo changed, they got the new tempo in their clicks.
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