The composer explains why she's is not engaging with the Internet as she nears completion on the followup to her Oscar-winning 'Joker' score.
Like Branagh, Guðnadóttir grew up in a household that adored Agatha Christie’s crime fiction, and so she jumped at the chance to compose music for the Oscar-winning filmmaker’s latest murder mystery. Based on Christie’spicks up in 1947, post-World War II, as a retired Poirot attends a séance that quickly goes awry.
The supernatural thriller has plenty of horror elements that Guðnadóttir accentuated in her score, but she preferred to take a more intimate approach in order to emphasize Poirot’s internal struggle. “There were certain scenes where I had fun with the horror elements and the jump scares … but otherwise, I was just trying to play a bit more with the sense of size,” Guðnadóttir tells. “The orchestration is so small that it invites the audience to listen in and be in more of a suspense mode. If you have lots of big music all the time, it’s easy to lose people’s attention with that.”
Prior to becoming a solo composer in the States, Guðnadóttir collaborated with fellow Icelandic composer Jóhann Jóhannsson for 15 years until his tragic death in 2018. She often served as his go-to cellist on his scores for films such as Denis Villeneuve’s
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