Behind the Epic Soundscape: Composer Atli Örvarsson Reveals The Secrets of Scoring the Sci-Fi Hit Silo Composer

Warning: SPOILERS for Silo season 1.

Summary

The first season of Silo on Apple TV+ was a major success, and fans can look forward to the upcoming second season which will further explore the enigmatic universe. Renowned composer Atli Örvarsson has created a captivating and immersive soundtrack for Silo, featuring a remarkable main title theme that has had a profound impact on the aesthetic of the title sequence.

Örvarsson drew inspiration from the Silo's sense of isolation and claustrophobia, resulting in a dark and distinctly Scandinavian sound that mirrors the characters' morally ambiguous nature and the vastness of the underground structure. Silo, an adaptation of Hugh Howey's novels, has proven to be a major success for Apple TV+. Developed for the screen by Graham Yost and starring Rebecca Ferguson as Juliette Nichols, Silo season 1 captivated audiences with its thrilling storyline and unique dystopian setting. Excitingly, fans can look forward to Silo season 2, which will delve deeper into the mysteries that continue to intrigue viewers in this remarkable adaptation of Howey's universe.

The Silo itself is one of the standout elements in the series, symbolizing power, class, and more through subtle means such as the deterioration of its numerous levels. In order to enhance the emotional and narrative aspects of the show and fully immerse the audience in the unique world of Silo, composer Atli Örvarsson was brought on board. Known for his work on Chicago Fire, its related shows, and Eurovision Song Contest: The Story of Fire Saga, Örvarsson created an expansive soundscape that perfectly complements the show's claustrophobic setting.

In an interview with Screen Rant, Atli Örvarsson discusses the creation of Silo's standout main title, his creative process, and more. It's important to note that this interview took place during the 2023 WGA and SAG-AFTRA strikes, and the existence of the show being discussed would not have been possible without the contributions of the writers and actors in both unions. The interview has been lightly edited for clarity and length.

Atli Örvarsson On Silo

The opening credits of Silo are visually and musically gripping. Did you compose the theme for the credit sequence?

I composed the music piece first. There was a debate about its length, whether it should be 30 seconds, 60 seconds, or 90 seconds. I decided to take a chance and create a 90-second version, hoping for the best. Fortunately, it inspired something and I'm really pleased with the outcome. It's a powerful piece and interestingly, the music somewhat influenced the visuals more than the other way around.

The show has a distinct theme and numerous unique settings and significant characters. How did you determine which aspects deserved their own dedicated theme?

Atli Örvarsson: My initial understanding was that Juliette needed to have her own theme. I initially wrote a theme specifically for episode two, which eventually evolved into what I now refer to as the "Silo Theme." Therefore, there is a combination of themes that were clearly crafted for specific characters or situations, while others organically found their place within the show. Ultimately, the focus is on storytelling, and these elements tend to resolve themselves in their own way.

I may be overanalyzing, but what I appreciate about this score is its lack of excessive heroism. Instead, it seems to exist in the same ambiguous space as many of the characters. Was this your intention as a composer?

Atli Örvarsson: Honestly, there wasn't a specific mission statement. When I first began working on the project, I was captivated by the concept of being trapped underground in a large silo with no chance of going outside. The extreme isolation of such a situation naturally led me to a darker mindset, as it's unlikely to bring about happiness. I focused on portraying the feeling of claustrophobia. Especially in the first episode, which is a tragic story, it led me down this path of darkness, so to speak.

I joined the team due to my previous collaboration with Morten Tyldum, who directed the first three episodes. We had previously worked together on a show called Defending Jacob for Apple. My individual work revolves around a somewhat melancholic Scandinavian style of music. I only discovered later through interviews with Graham Yost that he was captivated by the idea of incorporating this dark Scandinavian music.

We often joke about it, but I actually wrote a significant portion of the music while I was in Iceland. Growing up and living there somehow prepared me in a peculiar way to compose music for something like Silo because of its year-round darkness. I come from a small town that can be quite isolating, lonely, and even claustrophobic. I suppose various factors converged. However, I didn't have much time to deliberate on my approach, so I relied heavily on my instincts and emotions rather than overthinking it.

I had the pleasure of listening to your music and it was truly enchanting. I'm astounded by your ability to make time for such creative pursuits alongside your demanding schedule of Chicago shows. Is the piano your primary instrument for composing? It certainly appeared that way to me.

Atli Örvarsson: My approach to composing depends on the project I'm working on. For my own music, I tend to primarily write on the piano. However, I consciously try to step away from the piano for certain projects because relying too heavily on it can limit my creativity. It's important to break free from our established methods and comfort zones.

When working on Silo, I utilized a combination of mental composition and technology. I had previously recorded various sounds and created a library which I then manipulated and experimented with. Despite the intentionally old-fashioned appearance of the technology in Silo, resembling the early '80s or even the '70s, it ultimately relies heavily on technology. I wanted to remain authentic to that aspect of the project. My goal was to create electronic-based music that defies the typical conventions of electronic music.

When this initially debuted, it stood out on its own, although there were comparisons made to the Fallout video game series by some. Additionally, there was an abundance of exceptional science fiction elements and science fiction-themed music. Did you have any specific elements or themes in mind that you aimed to avoid while composing this?

Atli Örvarsson: No, I didn't consciously consider that. I had two distinct concepts in mind while working on this project; one was the individual's sense of isolation, and the other was the immense expanse of the silo. Initially, when I received the footage, the CGI effects were not yet complete, so the grandeur of the silo was not apparent. It simply appeared as a few individuals maneuvering on some stairs. Consequently, I found myself overcompensating by creating music that was much more grandiose than what was actually portrayed. I could envision it, but the true impact was only realized once the scope was revealed. Therefore, in a somewhat peculiar manner, it was about capturing the extreme ends of the spectrum.

Do you have a favorite scene that you were able to score from this series, or are there several?

Atli Örvarsson: Honestly, there are so many. The three scenes when people leave the Silo were particularly rich material to work with. Another favorite scene for me was when you see the brochure and get a sense that there was a world that no longer exists. For that, I aimed for something that had a hint of Americana, almost Appalachian in nature, while still staying true to the world of the Silo. It was a really enjoyable task. And of course, the whole generator and all the action sequences in episode three were quite challenging, but also incredibly satisfying.

About Silo

Don't miss our other Silo interviews by clicking here:

Rebecca Ferguson

Tim Robbins

Avi Nash

Harriet Walter

Chinaza Uche

Graham Yost & Hugh Howey

Common

Gavin Bocquet

All episodes of Silo are streaming now on Apple TV+.

Source: Screen Rant Plus