The Showtime drama owes so much of its unsettling tone to the original music—which is why composers Anna Waronker and Craig Wreden know so much more of the elusive lore than we do.
, the score feels more minimalist, because those are universal human experiences. What was your process for those scenes?I started [composing the score for Natalie and Travis], and then played it for you. But then you loved it, and that meant that it worked.Then I added some guitar, and then we had a teen love theme. It just felt like being a teenager in love with all the melancholy and the falling [in love]. That theme in particular felt like a band we would both have wanted to be in.
Then there are also some really, really fun… [pieces] on the simpler side, the less dense side of cues, just like good, almost old fashioned, but weirdo in the[The younger cast is] getting a lot of the crazy, crazy music that we’ve written and then the adults… are getting some really fun [cues].Maybe that’s part of the reason why [Yellowjackets is] appealing. It’s identifying the struggle that we’ve all been going through.
Before, because I’m a mom, I’d have to have more rigid boundaries … I gotta take them to school or whatever. And [the pandemic] really opened that up. I am having a hard time adjusting now that life is getting back to normal.I also think that the pandemic cracked everybody open to allow for something like this show… The music and the show and the energy of it is so shape-shifting. That feels pretty new. And I think it speaks to sort of where we’ve all recently been.
I’m not sure how receptive mainstream viewers would have been to something so, by TV standards, experimental, had it not been for COVID-19.
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