It’s technically an epic destruction scene where he’s being attacked from all sides, but musically the score turns off all the energy and turns emotional. What was your favorite scene to compose in Season 1?Ī big payoff for me was, spoiler alert, when Matt Dillon’s character saves the day and meets his end in the elevator shaft. I’ll have to rely more on following the storyline the next generation of Wayward Pines, how they make their way in the screwed up world they live in. I won’t be able to play that trick again. That reveal has already been done, so at this point it’s going to be more focusing on the subterfuge and what’s likely present and not so much misdirect like I did the first season. In the first season the score started out not epic or bold in the first couple of episodes, was uncertain and wobbly as Matt Dillon’s character gets his strength back and starts to uncover what’s going on. What are you intending to do differently in your approach to the music this season?ĭefinitely building on the foundation from the first season. So Wayward Pines winds up being unsteady and uncertain that comes from an acoustic and organic footprint. I try to make the evocative quality fit with the space the story is taking place.
I characterize sounds I’m using as sounding like they’re outdoors, like big drums, or indoors and claustrophobic, like the sounds you’d find in Saw or where things are in a dungeon or small room. I used a lot of guitars, a lot a bowed instruments, using the bow to play a piece of scrap metal or metallic instruments that sound unusual, but aren’t high-tech. Wayward Pines wants to sound creepy, but the show is not high-tech, it takes place in the natural world with biological entities. What inspires your work on Wayward Pines and your overall sound?Īfter 30 years of fiddling with synthesizers, I find myself more attracted to heavy manipulation of acoustics.
It’s been nice with the stuff I’m doing with scoring, it can be simple and you don’t have to turn over every rock in the garden looking for a lizard that man has never seen before. In Nine Inch Nails, we spend endless amounts of time searching for sounds never heard before and ways we could take things to unachieved levels of sonic manipulation and destruction. I don’t know if there’s much relearning as opposed to repurposing and reprioritizing what you spend time on. Was there anything you had to relearn when you made your transition from rock bands to soundtracks? Inverse caught up with Clouser talk about his approach, what fans can expect from Wayward Pines Season 2, and what he misses about being a rock star. Today, Clouser works on Wayward Pines, Fox’s thriller about a sleepy mountain town hiding a dangerous secret. Clouser, who worked as an assistant to a soundtrack composer before NIN, resumed composing by working on NBC’s Las Vegas and the horror franchise Saw. Fortunately, in the age of serious TV, that dark is marketable. Clouser got dark and he stayed dark - he’s still known for the moodiness of his music. He also worked as a remixer for the biggest names in ’90s metal: White Zombie, Rammstein, and Marilyn Manson. “The amount of time I’ve spent with electronic sound - I feel is not as fresh and exciting when I’m writing the music and trying something completely new.”įrom 1994 until 2000, Clouser rocked as NIN’s keyboardist for the albums The Downward Spiral through Things Falling Apart. “I find myself using less high-tech sounds and more organic acoustics that I can trash using effects on the computer,” he explains.
#CHARLIE CLOUSER IZOTOPE TRASH 2 TV#
In his compositions for TV shows like Wayward Pines, the musician and composer takes a different tack. During his six-year run as the keyboardist for the industrial rock group Nine Inch Nails, Charlie Clouser worked constantly with mechanical sounds and melodies.
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