At the same time, he studied under Academy Award winning composer Dario Marianelli where he orchestrated and conducted Marianelli’s Oscar-winning score for Atonement. My task was to figure out how to do that in a way that felt completely of the DNA of the movie the look, the pace of the cut, the performances, and find themes which told the story of these characters with a sense of truth and simplicity.Ĭomposer Benjamin Wallfisch hails from a distinguished musical family and at 22 was appointed Associate Conductor of the English Chamber Orchestra and later Assistant Conductor of the Netherlands Radio Philharmonic. The music had to help guide the audience through the subtext of the story, at times very subtle, at other times outrageously visceral. The scares are always earned and there’s often a playful glint in the filmmakers’ eye. The movie delivers both raw scares and a powerful story with an unwavering sense of integrity to the characters. The biggest challenge for sure was finding a sound for Diana, making her feel like the fabric of the movie, whilst at the same time being led by the story and delivering the human truth of what these people are experiencing and why.

Also the monster, Diana, has a motif – one that is the stuff of nightmares: It’s kind of like a demented lullaby, an obsessive tune that almost closes in on itself. There is a strong “mother/daughter” theme where I went about capturing the complex dynamic between them with a melody that can never quite find its home. “Sandberg was keen I write a score with very strong themes and emotion at its core, which is pretty unusual for horror films.”īenjamin told us a bit more about the whole process behind the score for Lights Out:Įarly on, David and I discussed how we wanted to go about bringing the subtext of an emotional family drama to the fore of the score, in the context of a high adrenaline horror movie. But overall it becomes obvious that “even though it’s a horror film, it is also a strong family drama in which you really care about the characters,” as composer Benjamin Wallfisch stresses.

From there on the score gets much darker with more jump scares included. No wonder that track carries the name of the monster, Diana. WarnerBros.The score itself lulls you in beautifully with its first tracks and then kicks you out of your chair when the first loud hit kicks in.

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