Crafting a “creepy, otherworldly and alien” sound for the first season of TheHandmaidsTale, composer Adam Taylor’s biggest challenge since then has been watching the story evolve, and finding ways in which his score can evolve with it
Adam Taylor
A lot of it was phone calls with Reed [Morano, director] when they were still putting things together, maybe just before they started shooting the pilot and while they were shooting, just going back and forth and sending her sketches based on our conversations. Before then, we had worked together on a few things, so we already had an understanding and a really great shared vocabulary, [so] we could get to places quickly with one another.
Then, there’s that siren noise that comes in and out. Anytime you hear a siren, you perk up; you’re in your car or wherever. So, I was trying to duplicate that sense with a synth as well. I’ve touched on it here and there in Season 2—less in Season 3, because music is always trying to narrate Lizzie [Moss]’s character, wherever she’s at.
Absolutely. I don’t think I would’ve been able to get away with using flutes or some of the themes in Season 3 in Season 1. It would have been very out of place. I think Season 2 actually got a little darker for a period of time, because it’s a really hard place in the story for June, and even in the first nine episodes of Season 3, she really starts to lose a little bit of herself, which is understandable in that sort of world.
Something we definitely used a lot more of [in Season 3] is voice, whether it was myself or really great sample libraries, because the human voice is so expressive. It can be so beautiful in the right context, and it can also add that humanity that we’re talking about, that we want to feel more in Season 3, as we see the chains starting to fall off of our heroines.
Then, another thing that was huge with score was just way more notes per bar. There were a lot of very long, droning notes in Season 1, a little bit less in Season 2—and in Season 3, wherever it was appropriate, there’s a lot of faster, quicker notes and tempos to give it more forward momentum. That was a huge shift this season, as well, so much so that at the beginning, I pushed too hard and had to dial it back a little, because it was almost a little too much.
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