The Walking Dead: Unveiling the Musical Journey with Found Sounds and Iconic Influences

Content: The Walking Dead: Dead City is a captivating spinoff that delves into the complex dynamic between Lauren Cohan's character, Maggie, and Jeffrey Dean Morgan's character, Negan. This six-episode series takes place in the iconic setting of post-apocalyptic Manhattan, where Maggie's new Hilltop community is established and Negan's redemption journey continues. Widely praised as one of the finest projects in The Walking Dead franchise, The Walking Dead: Dead City offers a breath of fresh air amidst the multitude of spinoffs and companion series.

Not only does The Walking Dead: Dead City feature familiar faces from the franchise, but it also introduces exciting new talent both in front of and behind the camera. One notable addition to the production team is composer Ian Hultquist, who skillfully crafted one of the most distinctive scores in The Walking Dead universe. Facing the challenge of following in the footsteps of the original series' composer, Bear McCreary, Hultquist successfully carves out a unique musical identity for this spinoff.

Ian Hultquist on The Walking Dead: Dead City

Screen Rant: How did you find your way to The Walking Dead: Dead City, and were you a fan of The Walking Dead before this?

Ian Hultquist: I watched most of the flagship show, although I stopped around season eight. Nevertheless, I was a big fan, particularly in the beginning. In my opinion, the pilot is one of the greatest TV episodes ever created. From then on, I've kept abreast of all the spin-offs and developments. I had heard rumors of this project but didn't pay much attention. Then, Joe Dinnen, my co-producer from Dead City with whom I had collaborated on Dickinson, reached out to my agent. He asked if I would be interested, and of course, I jumped at the opportunity. After a meeting with Eli Jorne, the showrunner/creator, and learning about his vision, I was completely onboard. It sounded incredible, and I couldn't have asked for a more thrilling project to be a part of.

Speaking of The Walking Dead, Bear McCreary did an outstanding job with the music for the flagship show. The theme has become iconic for fans. Did you discuss whether to continue using his musical style or to put your own unique twist on it?

Ian Hultquist: Our main aim was to create a distinct sound for this show that deviated from the original. We wanted it to feel like it exists within the same universe, yet in a completely new and unexplored setting. Initially, I was daunted by the challenge, particularly because of the iconic theme. We went through multiple iterations of the main titles to ensure we found the perfect fit, avoiding any resemblance to the original show. Our intention was to give it a fresh and innovative feel, allowing us to experiment and venture into new territories.

Throughout the process, the music took on different forms. Originally, we were inspired by the 1970s John Carpenter film "Escape from New York," aiming to capture its essence. While aspects of this inspiration can still be heard in the show's music, we ultimately evolved towards a more contemporary and expansive sound. This allowed us to cater to the show's various moods, which range from emotional and intimate to grand and dynamic. It was vital for the score to be versatile enough to complement both.

Were there any unique instruments or instrumentation choices that stood out for this show?

Originally inspired by John Carpenter, the preference was to heavily incorporate synthesizers and minimize the reliance on live instruments. To find distinctive sounds, I collaborated with talented sound creators who assisted in developing custom sounds for this project. One notable collaborator was my friend Ben Van Vlissingen, who stumbled upon an abandoned warehouse during a family trip to Maine. Along with a few friends, they experimented by generating sounds through hitting various objects, bowing steel, and gathering an assortment of intriguing materials. Ben generously handed over this collection to me, which I then deconstructed and reassembled using computer software. This process added a truly unique palette of sounds to the show, in addition to the synthesizers and custom sounds we were already working on.

Regarding personal proficiency and comfort, I found myself facing different challenges with action sequences compared to emotional moments. I can't say one area was necessarily more difficult to tackle than the other.

Ian Hultquist: It wasn't easy. Let's make it clear that the show was a challenge. Eli has specific preferences, and it took multiple attempts to meet his expectations. Eventually, we achieved the desired outcome, and I'm thrilled with how everything turned out. However, it was definitely a journey. Regarding the action scenes, one of the difficulties was avoiding a generic feel, despite having impactful elements like big drums in the mix. We didn't want it to resemble a typical action film. Our aim was to create intensity and grandeur while staying true to the show's identity. It was crucial to strike a balance between staying within our musical style and not going overboard to a point where it strayed from our intentions. Additionally, for the emotional scenes, I believed that less is more. I didn't want to overemphasize emotions in the score. Too much melody would have felt overly sentimental to Eli or even cheesy. The objective was always to find the perfect balance of conveying the necessary emotions through the music without exceeding those boundaries.

You mentioned that you worked with some friends. How much of this score did you perform and produce yourself?

Ian Hultquist: I collect various samples from people, such as recordings of them banging on objects, like pipes. I then use these samples to create beats and incorporate them into my composition. Sometimes, when I lack energy after a long day of writing, I ask Ben to add some additional music to a cue. I give him creative freedom and see what works. However, the majority of the composition process is done by me, meticulously figuring out each note. I also incorporated my own guitar and bass into the score, as well as an instrument called the GuitarViol for certain nightmare sequences. Additionally, I started using a synthesizer called the Therevox, which became prominent in the later episodes. If The Walking Dead: Dead City were to have a second season, I have already envisioned ideas and places I would like to explore in the story.

Ian Hultquist is eager to see a season two of the show. He believes there is still much more to explore and enjoy. While Manhattan has been showcased, there are countless other possibilities to be explored. From a musical perspective, there is great potential for creativity. Hultquist envisions going to the set and capturing unique sounds, such as damaged cars, to incorporate into the score for the second season. This opportunity would be a dream come true for him. Lastly, Hultquist is asked if there are any projects he is currently working on and can discuss that excite him.

Ian Hultquist: I have actually completed it already; it just hasn't been released yet. Towards the end of last year, I finished working on a film titled Turtles All the Way Down, which is based on the novel written by John Green. Hannah Marks directed this film. I am extremely proud of the finished product. I am particularly fond of the score that I composed for it. Currently, I am eagerly waiting for a release date to be announced. Hopefully, it will happen soon, as it has already been about six months. We are all crossing our fingers and hoping for the best. I am really excited to see the film get the recognition it deserves when it finally sees the light of day.

About The Walking Dead: Dead City

The Walking Dead: Dead City, a spin-off/sequel to the chilling horror series, brings together Maggie and Negan, two significant characters from the original show. Partnering up as unlikely allies, they embark on a daring mission into the heart of Manhattan to rescue Maggie and Hershel, her late husband's son. In their quest, they confront not only hordes of the undead but also encounter even more perilous adversaries among the surviving human population.

Also be sure to check out our interview with The Walking Dead: Dead City's Pallavi Sastry.

New episodes of The Walking Dead: Dead City air Sunday nights on AMC.