♪ (PERCUSSION MUSIC PLAYS) ♪
That's the ticket. That's the ticket, okay.
One more. One more.
GUSTAVO SANTAOLALLA: Yeah, so just... (VOCALIZES)
♪ (SUSPENSEFUL PERCUSSION MUSIC PLAYS) ♪
(SPEAKING IN SPANISH)
Beautiful. Beautiful.
♪ ("THE LAST OF US" THEME PLAYS) ♪
(SPEAKING IN SPANISH)
SPEAKER: How do you want it?
-For me. -SPEAKER: Si.
♪ (RESOUNDING STRUM) ♪
NEIL DRUCKMANN:
has such a different way of working.
The way I worked with Gustavo,
starting with the game
and now continuing with the show,
is pitch him the story.
I think Gustavo as well is like very much about minimalism.
Like what's the least we need to do
to achieve this moment?
Which is very much mine and Craig's philosophy as well.
The whole thing in the music of
is to preserve this organic element.
Kind of minimalism, because I have to play less.
The pipes, the cans, all that has a little bit to do
with the reality of a post-disaster world
of found objects, broken things.
♪ (GENTLE STRUMS) ♪
But it's very organic.
It's almost like a modern primitive folk instrument.
♪ (MUSIC CONTINUES) ♪
The beginning, you know, was trying to find
how do we translate the language from the game to the series,
but I think we have found now something
that kind of like flows.
DRUCKMANN:
and he'd come back with an hour or more of music.
And we'd just sit here listening.
And he's just like, "Here's like this moment
that you talked about that has inspired this theme."
And we'd listen to that theme and be like,
"Oh, my god, that's so beautiful.
I bet that could work in that sequence."
And then, we would like take that music and put it there.
So it's constantly just trying to find
the essential ingredients
that you need to pull off this moment.
And that's very much what it's like working with Gustavo.
It's like starting with a lot
and then continuing to trim it down, trim it down,
and find the right elements and how they fit.
Tommy!
SANTAOLALLA:
especially with great stories, and with dramatic stuff.
Sometimes, you might have a piece of music
that suddenly, you read something,
or you see something, and you go,
"Oh, this really can connect with this feeling.
I don't know why, but I can see that this works."
I have a great, fantastic team.
It's really fascinating working with them
and bouncing ideas in between all of us.
Eventually, what's coming out
will have something to do with that.
♪ (SUSPENSEFUL MUSIC PLAYS) ♪
There's stuff that was created for the game
that you can just take it and put it,
and it works fantastic,
which, for me, says a lot also about what they have done
'cause it means that there is a connection
between the game and what the series is.
For me, it was a very, very rewarding experience
in many, many levels, and also artistically,
allowed me to do what I wanted to try.
And also, it was a big space for me to experiment,
so it's been an incredible experience.
It's always a big challenge, but I think and I feel
that we're into something really great.
♪ (TENSE MUSIC PLAYS) ♪
Swear to me that everything you said
about the Fireflies is true.
I swear.
Okay.
♪ ("THE LAST OF US" MAIN THEME PLAYS) ♪