‘The Last of Us’ Composers on Scoring Joel’s Big Moment, the Jackson Invasion and Capturing Abby’s Anger Without Making Her a Villain

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⚠️ WARNING: The narrative that follows may reveal crucial plot points from Season 2, Episode 2 of “The Last of Us,” currently available on Max. Proceed with caution if you prefer to avoid spoilers.

Caution Required: The tale that unfolds might divulge significant plot details from the second episode of Season 2 of “The Last of Us,” which is accessible on Max at this time. Proceed with discretion if you wish to steer clear of spoilers.

As composer David Fleming understood that this week’s episode of “The Last of Us” would encompass the brutal siege of Jackson and Joel’s (Pedro Pascal) demise at the hands of vengeful Abby (Kaitlyn Dever), he recognized that composing music to harmoniously flow through these “momentous” scenes demanded a delicate “balance.

Craig Mazin discussed the approaching storm and it’s clear that whatever transpires is surprising, yet somehow predictable. Fleming explains to EbMaster, “We needed to safeguard our destination and avoid revealing too much of our hand.”

The conversation revolved around an upcoming storm and it was obvious that what unfolds holds a shock value, but at the same time, it seems inevitable. Fleming communicated to EbMaster that we had to secure our end goal while not giving too much away about our plans.)

The partnership between composers Fleming and Gustavo Santaolalla, known for their work on “The Last of Us” video games, was crucial. According to Santaolalla, he predominantly concentrated on the emotional nuances and character development within the episode, while Fleming leaned heavily into the action-oriented aspects. However, they both contribute to determining the cues or the way to connect one element with another. As Santaolalla puts it, “We both play a part in deciding how we’ll link one thing with another.

One particularly thrilling scene in the episode unfolded during the siege of Jackson, where the townsfolk had no choice but to fight back when hordes of the infected invaded. To enhance the intensity of this drawn-out sequence, Fleming opted to gradually intensify the soundtrack by incorporating detuned cellos and haunting banjos, instruments that he had used earlier in the series.

In another challenging sequence for Fleming, Abby’s ascent up the wall is pursued by a horde of clickers. Fleming muses, “How can we amplify the tension, yet avoid diminishing the impact of the Jackson invasion?” He explains, “It was more about finding ways to escalate the intensity further, even when we’re already at maximum level, while still maintaining some flexibility.

For several years, after working on the game, Santaolalla had been aware that Joel would ultimately perish. In the tearful farewell between Joel and Ellie (portrayed by Bella Ramsey), he skillfully incorporated themes from earlier episodes to reach the “emotional climax” of that poignant, gut-wrenching scene. However, when composing music for this adaptation, Santaolalla deliberately deviated from the game’s musical cues, instead employing instruments such as the ronroco.

Santaolalla explains that they maintained the aesthetic appeal of the music, not just through the themes, but also by preserving the instrumentation and the raw quality.”

Or more informally:

“According to Santaolalla, not only did they stick with the themes, but they also made sure to keep the instrumentation and the gritty feel of the music.

Significantly, Episode 2 presents a pivotal moment for Abby that irreversibly changes her character trajectory, having been a contentious figure in the games previously. Despite the challenging scene where Abby takes Joel’s life, neither Fleming nor Santaolalla treated scoring Abby’s scenes as if she were a conventional antagonist.

Fleming expresses that they aimed to convey the intensity of anger and sorrow in their performance, and it’s intriguing to consider how this emotional turmoil will influence Ellie’s music later in the play, given her recent harrowing experience. Fleming appreciates not being required to portray Abby as a mere villain; while she serves as the antagonist, the complexities of their character are not oversimplified in this world.

In Episode 2, we see some aspects from the game being introduced for Fleming to explore within his themes. For instance, Abby’s crew, who have a militaristic vibe, are now present alongside her. Although Fleming acknowledges that the essence of the game will continue to influence the music in the series, he also understands that composer Santaolalla and his team may deviate from the original source material when it is necessary.

Fleming explains that when playing a game, you become an immersed part of the character. Similarly, while watching a television show, we aimed to preserve that sensation of being within the character rather than feeling detached. Instead of perceiving music as separate entities, we wanted it to induce a sense of our own fear or panic.

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2025-04-22 22:16