But then we bring our own musical experience to it. WM: There are moments, where we’re thinking, " Suspiria would be a cool starting place for this" or maybe the atonal, classical moments from The Shining that are so horrifying. I love David Axelrod, who was one of those Capitol Records producer/composers and was heavily sampled throughout the 90s and early 2000s. Do you guys have favorite soundtracks that served as inspirations?ĪGM: We love John Carpenter: The Fog, Halloween 3, and Escape from New York. Definitely a bit of John Carpenter in there.
Ultimate warrior soundtrack movie#
I definitely got some horror movie vibes from some of the soundtrack.
If I walk the thirty minutes from my place to Andrew’s studio and listen to the soundtrack from Nightmare on Elm Street 3, it all of a sudden turns into a very eerie walk through the park. WM: Soundtracks have a way of transforming your world into something else. It's great for us to be able to revisit every episode as a miniature symphony and see how it all works together. And if you haven't watched the show, hopefully it evokes certain images, emotions, and creativity. How do you guys hope this album is experienced? Is this soundtrack strictly for DSOTR and wrestling fans or do you feel like there is something in there for everyone?ĪGM: If you enjoyed the show, hopefully the music takes you back to the feeling that you were getting watching the show. And then we said, "You guys handle the final music edits in the cutting room." So the solution that we came up with was the idea to give us the roughest version of that episode so that we could create a music library for every episode based on creative discussions. The show got greenlit very late and there was some concern as to whether there would be time to shoot everything and turn it over to us to properly score. Wade and I basically made a music library for every episode. That would be the sonic imprint of that episode. We would get to the point of inspiration where we felt like we could create something cool and new. Or with the Montreal Screwjob, we wanted it to feel like a heist film. There's always a point where we meet in the middle on everything and I think when we're able to collaborate it turns into some of our best work.ĪGM: Usually before they're even shooting, we have a creative discussion with Jason and ask, "What are you trying to make out of this episode?" In the first season, it was clear, he'd say, "The Macho Man and Elizabeth story is like a fairy tale romance that goes bad." So we played with those ideas. WM: Even though I toured and made records in a classic band sense, while Andrew made a lot of music in a solo way, we were both skateboarding and listening to the Dead Kennedys when you were 14. We were dealing with the whole range, from big, ominous entrance music and super synthy huge arena rock, to telling tragic and heartbreaking stories.Ĭan you talk about the different approaches that you each brought to the project to create the show’s unique sound? As composers, there's so much for us to work with: so many different characters and the people behind the characters, the families and the tragedies. It can take someone who doesn't know anything about wrestling, and turn them into a super fan. But the real-life version of all this is so compelling that it can deeply draw people into the world of wrestling. Wade MacNeil: I really wasn't that into wrestling as a kid, because I didn't have an older brother or cousin that got me into it at a young age. We tried to play on some of the sounds of those themes when composing for the show. One of the big things that Jason Eisiner wanted to bring up with the show was that you knew whether it was Ultimate Warrior or Undertaker coming to the ring because of an audio cue before anything else. It was definitely an early education in the power of having a strong theme for a character. How did the history of music and wrestling inform your approach, and were you guys big wrestling fans before this project?Īndrew Gordon Macpherson: I was a big WWF fan, pre-Attitude Era. Noisey: Music has been so central to wrestling, particularly when thinking about wrestler’s entrance music.
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