I mean it goes across three decades of a man's life and his family. And it's a film that has a very large scope. It had to hit a lot of these emotional beats that run throughout the film. Jóhann Jóhannsson: I think it was that the music needed to underline the emotion and reflect the relationships at the heart of the film and be an emotional counterpoint to the story. But when you first saw the images, how did they begin to spark music for you? It's a hard quality to describe, I guess. HitFix: “The Theory of Everything” is interesting because, for a biopic that hits some of the expected beats, it has an elegant construction. “The Theory of Everything” opens in theaters Nov. Read through our back and forth below and get to know a guy who, again, you're sure to be hearing about more and more over the next few years. He's sure to garner awards traction for his work on this film, however, so he'll get used to it all soon enough. I spoke to Jóhannsson not long after catching “Theory,” which premiered at the Toronto Film Festival in September, and you can tell he's still warming up to this process and the attention. That course is sure to be corrected with his work on James Marsh's Stephen Hawking biopic “The Theory of Everything,” a piano-driven work that stands out as one of the film's most identifying features.
Having come up through the documentary world, he was tapped last year for Denis Villaneuve's “Prisoners” and he ran with the ball, crafting a dynamic, layered, ominous score that really didn't get its due. I expect composer Jóhann Jóhannsson will be getting hired more and more in the near future.
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