Ludwig Goransson, Nicholas Britell and others jump from film scores to television, and the Emmys are better for it
,” adapted from a hit podcast and an homage to the 1970s paranoia thriller, didn’t have an original score — instead, director Sam Esmail built an entire patchwork soundtrack from vintage film scores. For Season 2, “The Last Black Man in San Francisco” composer Emile Mosseri was tasked with writing something completely new that still fit the blueprint.
The result is a mesmerizing nod to the olden days, a vertigo of queasy strings, brass and wobbly piano that feeds the paranoia and mysterious atmosphere while worming into the brain. Full of beautiful chromaticism and exposed instrumentation, it’s almost like Bernard Herrmann came back from the dead to score an Amazon Prime show.
In the second episode, “Giant,” Mosseri’s recurring brass motto is a menace haunting Janelle Monáe’s amnesiac character, and his main “fate” theme — a seductively spiraling series of chords — pulls her deeper into discovering the truth.Another composer tasked with living up to classic film music was Daniel Pemberton, on the Netflix series “.
The opening episode, “It’s Summer and We’re Running Out of Ice,” smashes a real historical event — the Tulsa race massacre of 1921 — against those ominous vintage synthesizers for an eerie effect. The dark-techno tone persists into the violent comic book world of the show’s alternative present day.“TV movies” used to mean something inferior, but now we get high-class, grown-up dramas like HBO’s “,” which features Hugh Jackman and Allison Janney in a true story about corrupt school officials.
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