"The thing that I love about these is, Rian has no interest in remaking the same movie. They're technically sequels, but we think of each one really as its own standalone thing. And that applies to everything from the production design, to the structure of the movie, to the writing, to the characters, to the music. For the first "Knives Out," it was this sharp, angular quartet in claustrophobic New England mansion."
"The first thing you hear in this score is the sound of the entire string section scraping their bows against the strings almost like nails on a chalkboard. And then this cacophony resolves into a single pure tone. It's it's almost like this tug of war between ugliness and beauty or between light and dark. In my mind, that's what this movie is."
"In an interview, Johnson talked about setting a gothic tone in the latest, "Wake Up Dead Man: A Knives Out Mystery," about feeling like Christmas morning when he gets Rian Johnson's latest script, and about the literal lifelong connection that led to his recording the score for Rian Johnson's first film, "Brick," in his tiny apartment. At the Middleburg Film Festival, you said that the score for this film had to match "Wake Up Dead Man's" gothic look and tone."
Nathan Johnson composed the scores for three Knives Out mysteries, creating each score from scratch to match each film’s distinct genre and tone. Benoit Blanc returns as the detective while musical approaches vary widely. The first film used a sharp, angular string quartet to evoke a claustrophobic New England mansion. Glass Onion employed a lush, romantic orchestra for a Greek-isles setting. Wake Up Dead Man adopts a darker, gothic palette, opening with strings scraped like nails on a chalkboard that resolve into a single pure tone, suggesting a tug of war between ugliness and beauty. Johnson recorded the Brick score in his tiny apartment due to a lifelong connection with Rian Johnson.
Read at Roger Ebert
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