A score composed of “instruments” made from sounds collected on New Orleans streets is just one of the elements that distinguishes Looper from your typical sci-fi action flick.
“I brought a field recorder and I just basically wandered around the city for a month gathering sounds like industrial fans, and treadmills in my hotel room, engines — stuff from the set,” Looper composer Nathan Johnson tells Wired in the video interview above. “And then I worked with a team to basically take these sounds from the world and turn them into playable instruments.”
The result is a score that sounds both organic and out of this world — exactly the kind of intersection director Rian Johnson (the composer’s cousin) likes in his movies.
The helmer says he is a fan of taking films in various genres and putting his own stamp on them. Looper, set in a future where criminal syndicates send assassins back in time to kill people, is his twist on the standard sci-fi time-travel movie.
“Sci-fi on its own is not really a definable thing — it’s something that has to combine with another genre,” Rian Johnson says in the video. “With Blade Runner — a sci-fi noir — or Alien — a sci-fi monster movie — it’s really this kind of sheath that slips over something else. And to me, I love messing around with genre and mixing them up and matching them.”
Find out more about the director’s love of sci-fi and the complex process by which his film was scored in the video above.
Looper, starring Bruce Willis and Joseph Gordon-Levitt, hits theaters Friday.
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