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Sandman composer David Buckley breaks down highlights from season 1 [Spoiler Interview]

What instrument do you want to make, like you said, those “unnoticeable” tones in episode 5?

For me, it’s all about negative space. I mean, it’s a tried and tested recipe where sometimes you just leave the tiniest squeak and hint of some unsettling sound, [and that] can cause psychological damage or leave a more psychological impression than a loud growl.

There’s another show I’ve recorded called “Evil,” which is a pretty funny show on CBS. It’s very, very different from this and it has a humorous theme throughout, but there are still moments of horror, as the name might suggest. Usually I’ll write a piece of music for it, and then I start pulling it out and then I come to this sparse version of it. We all agree, “Oh, that’s the scariest version” when you’ve got rid of all the trash, when you’ve removed all of the stuff where you’re pointing at people and saying, “Let’s go be afraid. Be afraid. Be afraid” and then you find only this floating, whimpering, decaying sound. And that’s what makes you feel nauseous. That’s what makes you want to find your mattress to hide behind.

For me, volume 5 is a study of psychology, the psychology of music, how to play with things. Real subtle manipulations of the sound, to make people feel more and more progressive. It’s not about writing a tune. It is not a matter of ingenuity with harmony. It’s about trying to mess with people, but in the most subtle way.

Again, when it comes to recording different tones, you’re clearly having fun with the cereal convention in episode 9. The strings are hilarious when Stephen Fry put it all together.

YES. Well, again, we don’t want to play serial killers, because we don’t want it to be a grim suggestion. We just don’t want the gritty music there. At the same time, there is definitely a playfulness in the music. It’s one of my favorite songs that’s called, I thought, “God told me to.”

It’s humorously upbeat.

Yes, it has a good look. Actually, I have to rewrite that, because the first time I wrote it, I got a message back that I was making serial killers feel like serial killers, that they are all evil. They don’t want to do that. There is also a mundaneity to that convention. They can also be cleaning products.

When Corinthian sat down and got a standing ovation, it almost looked like a corporate commercial about pulling out or something.

That’s an interesting thing. Maybe there, my instincts weren’t quite right, because I was more serious with the first version of that suggestion. And I said, “No, no, no, no, no, no, no. We want to celebrate this guy. We want to like him. He’s a nice guy. He has a smile and a smile. wink.”

When you’re working on a shoddy show, sometimes you need some help to be told, “We’d rather approach this this way than that.” Sometimes, unfortunately, the only way to really have that conversation is to put on a piece of music and be told, “No.”

You can talk about things non-stop and you can say, “Yeah, I’ll do this.” And of course, when it actually becomes flesh, there’s a difference like, “Oh, that’s what you mean by red.” Finally, when you put a piece of music there, then you have something tangible to love or dissect.

What mood would you like to support the attack with The Corinthian?

Yes, he has a terrible charm and he wants to know what it’s like to be human. He’s the villain there, but not by any stock or common sense. So this is actually a pretty subtle sound. It’s two elements to him, I wouldn’t really call it thematic, it’s a vibe for him, it’s an electric trumpet, it’s a moody, a bit dull, trumpet thing -y. It hardly looks like a trumpet. And then there’s the very low, what I call Dr. Dre bass, just a very slow moving bass with glissando in it. Like, “Duhn-brr-rrr.” I don’t even know how well it translates on TV, but it has a bit of sexiness inside of it, without a saxophone solo it would be horrible.

When Corinthian and Sandman intersect, musically, do you want to tie them together?

Well, if they happen at the same time, I can’t recall. It’s been quite a while since I’ve actually worked on the show, because apparently, we put it in the box a few months ago. So I can’t recall a detail like that. I can recall another detail with Desire, they only had a few moments on the show, but they were a very cool character.

So there is a theme, but then there is a moment within that theme. It’s that weird vocal stuff, but there’s a moment inside where they’re talking about Dream. And so, Dream’s theme then reappears on Desire’s theme. So two things coexist. I mean, I think that’s happening all over the place.

I went back to my point about keeping the audience entertained and not feeling that I was telling them what to do. I’m not always desperate to say just because a character is on screen, that they have to have their theme play as soon as they appear on screen, because that’s pretty grim. I mean, it’s going to be pretty childish. I mean, a kind of standard grading procedure, the characters have a musical identity and what I feel is the best at any given moment, is my approach.

https://www.slashfilm.com/967641/the-sandman-composer-david-buckley-breaks-down-highlights-from-season-1-spoiler-interview/ Sandman composer David Buckley breaks down highlights from season 1 [Spoiler Interview]

Fry Electronics Team

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