Joesph Gordon-Levitt

Nathan Johnson

Out today, Looper tells the story of mafia hit-man Joe (Joesph Gordon-Levitt) who spends his days offing victims, but there’s a twist here: these victims are sent to him from the future. And when he comes face-to-face with his future self (Bruce Willis), things really start to unravel. Part sci-fi, part action, part drama, Looper flows between these different genres just as the story flows between different time periods and it is Nathan Johnson’s score that helps guide us from one place to the next. I spoke with Johnson about creating his completely original score, full of found sounds he then manipulated into actual instrumentation – no easy feat! But one that is fully achieved and gives this original story an equally original sound and feel, creating a new world that does not completely take us away from where we are now, but hints at where we may be going.

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Aural Fixation - Large

Unlike most films, Looper starts off with only ambient noise – the sound of the wind and the rustling of leaves fill the space, but as we look upon a stone faced man wielding a gun these every day sounds we rarely notice take on a new feeling and become almost as foreboding as the use of sorrowful strings or rumbling percussion. A single shot breaks this near silence and with it, Nathan Johnson’s futuristic and industrial score comes in. Johnson has been no stranger to giving audiences peeks at his process for creating Looper’s score and there is little question why – it’s pretty damn cool. Rather than simply turning to a full-bodied orchestra to expand on the various characters’ emotions and set the frenetic pace of the film, Johnson took found sounds (a car door slamming shut, an industrial fan, the vibration of a door stopper) and used these sounds as his instruments while still infusing and pairing them with more standard instrumentation, creating a score that is both familiar and inventive. He even went so far as to build new instruments by combining normal instruments (a marxophone) with unique sounding elements (an appropriately selected gat gun) making the score feel off-putting, but still grounded in the fabric of the narrative.

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