Ludwig Göransson describes the process of creating the score for Oppenheimer as “draining,” but says it's more personal than anything else he’s worked on.
I loved that idea. My wife, Serena, is a very accomplished violinist, and so we were able to work together on this and go to the studio and experiment. And Chris was interested in taking the traditional sound and turning it on its head. In a lot of films, the violin and the violin string section is used as a horror effect.
For example, for the scene where they’re taking the bomb out and they’re hoisting it up in the air, there was a beautiful piece of music there that I had done before I saw the film. It worked great for the scene. But when I saw it in the theater for the third time, a couple of weeks after the director’s cut, I was like, “Let me try something different here.” The entire music changes in that scene now.
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