![]() ![]() What he calls “the soul theme” consists of four notes, “a very simple melody, the first thing you hear over the opening shots of the movie,” recurring throughout as K (Ryan Gosling) searches for answers. The second challenge was “finding the heart of the movie,” Wallfisch says, especially difficult considering the movie’s intellectually provocative premise: “What is it to be human? What is consciousness? Finding musical analogues to those questions,” says the composer. Most of the rest of the score was created using contemporary synthesizers,” he adds, although many of the sounds were inspired by the ’70s and ’80s machines that Vangelis used. ![]() “It was important to begin and end the score with it,” Wallfisch says, “tipping our hat to the great Vangelis. Zimmer immediately pulled out of storage his Yamaha CS-80, the late ’70s-era analog synth that Vangelis had used as the primary voice of his original. ![]() It was also created almost entirely on synthesizers, so, Wallfisch explains, they wanted to “be as respectful as possible, celebrate that sound, and at the same time think about how it could be reinvented for a completely new story, 30 years later.” The biggest challenge, he reports, was creating a sound that would “keep it very much in the world of ‘Blade Runner,’ which is synonymous with Vangelis,” the reclusive Greek composer who scored the ’82 original, which ranks high among the all-time great sci-fi film scores. Wallfisch went off and wrote a 12-minute suite of proposed musical ideas, “and within days there was 20 to 25 minutes of music written away from picture, a lot of which went into the movie untouched,” he adds. They began musical explorations almost immediately: “Hans just put his hands on the keys, played some notes, and there was an immediate synergy with Denis,” Wallfisch says. There he found Zimmer conferring with director Denis Villeneuve and editor Joe Walker about the musical needs of the sequel to the 1982 Harrison Ford film. ![]()
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