Silo | Sound & Screen Television 2024 - video Dailymotion

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01:40Adly, congratulations on your recent BAFTA win.

01:43Thanks very much. Thank you, thank you.

01:47When you accepted that award, you said that this was a dream project

01:51that only comes around once in a blue moon.

01:54What was it about such an idiosyncratic sci-fi thriller that interested you?

01:59I think in a project like Silo, the world-building is so dependent on the music in a way.

02:08It gets to really be a huge part of the fabric of an imaginary world we have never experienced.

02:15We don't know what this is like.

02:17And I also joked about in my acceptance speech that growing up in Iceland in the north

02:24in isolation was the perfect preparation for it.

02:28I think actually the Icelandic Tourist Board is going to have my passport revoked now

02:33because I keep talking about this.

02:35But anyway, it really was that sort of coming together of a very intriguing,

02:41futuristic world that we obviously hope we'll never see,

02:45but being allowed to have a lot of freedom and really be a part of creating that world.

02:51I think the Icelandic Tourist Board will be fine.

02:53I think there's quite a lot of people who want to see you in dark, claustrophobic winters.

02:57You might be okay.

02:58Talking of which, did you just hunker down in your own northern Icelandic silo to create this?

03:06Could you give us an idea of how you did this?

03:09Well, actually I did, but the only thing, it was in the summertime,

03:14and there's no darkness at all in the summertime in Iceland, even the night's bright.

03:19But yeah, all the initial ideas really came from being in my studio in the north of Iceland.

03:29Some really cool things came about or came to me in a way,

03:34one of them being the magnetic resonator piano,

03:38which is kind of a steampunk addition to the grand piano.

03:43It literally takes four or five hours to attach all these magnets to it,

03:48and then you can play it with a pedal almost like an organ,

03:51and it sounds really weird and otherworldly.

03:53In fact, the suite actually starts with that being played on that instrument.

03:58And for season two, we've just been to a silo in the west fjords of Iceland

04:03recording really weird noises in a decommissioned herring oil silo.

04:09It doesn't sound as bad as it—it doesn't smell as bad as it sounds.

04:14So I mean, a lot of it is about sort of finding unique inspirations in that place.

04:22Talk of which, on one hand this show is a very large sci-fi show.

04:27On the other hand, as even we saw in the visuals behind you, it's a very personal story.

04:31How did you differentiate those two?

04:34Yeah, that's a really good question.

04:36I think that when I tried to imagine possibly living under these sort of conditions,

04:44it must be incredibly lonely. It must be incredibly isolating.

04:49I go to kind of more traditional solo instruments for these personal things,

04:55like piano, solo violin.

04:58But the first thing I started working on when I was doing the score

05:02was just kind of programming tones with my synths.

05:05Just like sort of imagining there has to be some sort of a hum in the silo at all times

05:10because it's running on a generator.

05:12And then something that I think really worked in my favor is when I saw the first cut,

05:17there was no CGI.

05:18And so you don't see that huge spiral staircase.

05:21And I was just like, oh my god, there's no scope to this.

05:24I have to make the music really big.

05:26And then once the CGI came in, I was like, oh, maybe I didn't have to go quite that big.

05:31But I think it helped kind of stretching it in all directions.

05:35You'd worked with the director Morten Tilden before on another Apple show, Defending Jacob.

05:39Correct.

05:40How did you two collaborate? I gather he told you not to read the books.

05:44He did. He told me absolutely don't read the books because it's just going to confuse you.

05:48And yeah, so I mean, I just went for the scripts and started writing music.

05:56And that's how Morten is.

05:59He's actually quite hands-off, but he's incredibly clear about what he likes and what he doesn't like.

06:05So he's kind of a dream director to work with.

06:08And somehow, I don't know, maybe it's some sort of a pan-Scandinavian aesthetic,

06:15but we just kind of understand each other.

06:18You mentioned season two. You mentioned hunkering down again.

06:21What can we expect from your side of season two of Silo?

06:25Some more of the same, or sort of an evolution of the themes that we've established in season one,

06:30and quite a bit of really long reverb tails from a decommissioned herring oil Silo.

06:39Well, I look forward to hearing that sometime soon.

06:42Atli Orvas and everyone.

06:43Thank you. Thank you so much.

Silo | Sound & Screen Television 2024

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