“He started playing me a little bit of Arcane, and telling me that he had been kind of cracking away for, like, three years, unbeknownst to many of us. When he asked us to get involved, we just kind of thought, this is a dream.”
“I’ve never gotten a note saying I’ve gone too far. If anything, it’s I can go farther. Eric [Kripke] usually says make me give you a note, and I never seem to get that if I tried.”
“I like to think the character of my portion of the score and the character of [Santaolalla’s] portions — we stumbled upon the same pawn shop in the post-apocalypse.”
“We had some really great string musicians and then just balancing it with a lot of the grit that the story needs. … [We] keep joking about the word grit — we’re going to use [it] a few times.”
“I created a trash percussion drum kit … just made out of metal trash cans and buckets, to try to get a little bit of the city trash sound and bring it to Oz.”
“There’s a lot of percussion in the show, and it all sort of comes from him beating a piano and, you know, making loops out of it. And, just seeing just how much juice we could squeeze out of that.”
“When the song starts, the score is still in, actually, and the song’s filtered, and then it turns into very heavy sounds because the train is approaching and that sort of ramps up to give you that feeling of the [tension] whether he’s gonna jump or whether he’s gonna get pulled back in.”
“[In Season 2] I went for the traditional music, which included quirky or weird noises. We used a lot of weird vocal sounds as a well as strange instruments to create this mood.”
