Hildur Guðnadóttir grew up on Agatha Christie mysteries. “I totally lived for those novels,” the composer says. Ever since then, she has wanted to sink her teeth into story by the famous author. So…
approached her, she said yes. “He wanted to do something darker and almost horror, and that dark stuff was tempting for me.”
Overall, the composer says she wanted to look at the questions the now-retired detective was asking himself. “He’s asking himself who he was before the war and who he wants to be in this post-war world,” she says. She found the contrast was a great way to draw parallels with composers of the time. “I took a classical romanticism melodic approach because the way you express melody says so much about how you’re expressing yourself.
Before she received Guðnadóttir’s music, Donaldson says, “We temped a very few spots with her previous scores, but it was very late [when we added in the music] because it helped find the natural rhythm of that scene. And if it’s working without music, you know it’s only going to level up when you do add it.”
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