support this idea of an internal
struggle with sound?
KR: So much of Westworld has great
dialogue. There is so much happening with that, and also with the
score. Composer Ramin Djawadi
does such an amazing job with musical themes. He really helps to tell
the story through music. There are
themes from throughout the entire
season that really come into play in
the finale. Those themes show a lot
of the emotion.
Also, in the finale, there is a
Radiohead song, “Exit Music (For a
Film),” that has been re-scored by
Ramin. That really takes you into
the finale of the whole series. A
lot of the emotional aspects come
through the music.
SW: Jonah and his team are so tuned
into the music and score. If you evaluate the episode it is literally wall-to-wall music because they rely so
heavily on the score playing a huge
role in not only telling the story, but
also giving you an emotional cue
as to what is going on. The themes
are important because they subtly
weave throughout the show. There
are themes for each actor but there
are also themes for things that happen in the show. They are very skillfully interwoven throughout the
show to help the audience become
emotionally prepared for the place
that they’re trying to take you.
What was the most challenging
scene to mix in Episode 10?
KR: I imagine that some of the
shootout sections were pretty challenging for Scott. For both of us as
a team our challenge is to have dynamics in the mix and to be able to
play the subtleties of the dialogue
and pull people into the story, and
then really hit them with the big
moments that happen.
For me, it’s weaving the music
around the dialogue, subtly lowering the music and raising it at times
when it needs to drive the scene.
SW: There are so many moments
throughout the series, and especial-
Clementine Pennyfeather (Angela Sarafyan) and Maeve Millay (Thandie Newton)
Logan (Ben Barnes) is a frequent Westworld guest
Lab technicians enter the park's saloon