Last year, Bird Box became Netflix’s biggest hit movie, setting the streaming giant’s seven-day records and inspiring dangerous memes. The film, which stars Sandra Bullock, takes place in a post-apocalyptic world that has been overrun by monsters that cause people who look directly at them to kill themselves. For a movie that’s all about sight (or lack thereof), Bird Box would have to rely heavily on sound. But one of the key composers behind that sound, Trent Reznor, who composed the Bird Box score alongside his frequent collaborator Atticus Ross, was not very happy with his experience working on the Netflix film.
In a candid interview with Revolver, Reznor called his experience on Bird Box “a fucking waste of time.” The musician, whose frequent collaborations with Atticus Ross have won acclaim and a Best Original Score Oscar for their work on David Fincher’s The Social Network, did not mince words when looking back at his time working on Bird Box.
“When we got immersed in it, it felt like some people were phoning it in. And you’re stuck with a film editor who had real bad taste. That’s kind of our barricade to getting stuff in the film. And the final icing on the shit cake was we were on tour when they mixed it. And they mixed the music so low, you couldn’t hear it anyway. So it was like, that was a … [Laughs] That was a fucking waste of time. Then we thought, no one’s going to see this fucking movie. And, of course, it’s the hugest movie ever in Netflix.”
The film was directed by Susanne Bier and edited by Ben Lester, though Reznor does not specifically call anyone out for the treatment of his and Ross’ original score. But when you’ve got renowned composers like Reznor and Ross, who have composed for The Girl With the Dragon Tattoo, Gone Girl, Waves, and most recently HBO’s Watchmen, I feel like you should give some due attention to their score.
Whatever the case, Reznor and Ross probably won’t be returning for Bird Box 2.
The post Trent Reznor Really, Really Hated Working on ‘Bird Box’ appeared first on /Film.
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