Over the course of “Mr. Robot’s” run, composer Mac Quayle has done a pretty effective job creating an eerie and ethereal (etheerieal?) backdrop to one man’s psychological self-sabotage. The ongoing trials of Elliot Alderson have been underscored by electronic-heavy instrumentals, highlighting the character in moments of triumph and moments of despair (more on that later).
As good as Quayle has been, the series has also benefited from a finely curated set of musical moments, with some of the most memorable “Mr. Robot” sequences bolstered by an impeccable soundtrack selected by music supervisors Amie Bond and Charlie Haggard. Some of these have been the numerous string of classical favorites used to set up Tyrell Wellick in various stages of upper-class crises. Others have drawn on electronic music icons that have influenced the show in more ways than one.
So as the show sets out for a new season, we...
As good as Quayle has been, the series has also benefited from a finely curated set of musical moments, with some of the most memorable “Mr. Robot” sequences bolstered by an impeccable soundtrack selected by music supervisors Amie Bond and Charlie Haggard. Some of these have been the numerous string of classical favorites used to set up Tyrell Wellick in various stages of upper-class crises. Others have drawn on electronic music icons that have influenced the show in more ways than one.
So as the show sets out for a new season, we...
- 10/11/2017
- by Steve Greene
- Indiewire
The first few notes are hard to place, but the song soon has the effect of a flashback. In the penultimate episode of "Mr. Robot" (USA), anti-corporate hacker Elliot Alderson (Rami Malek) brings disgruntled executive Tyrell Wellick (Martin Wallström) to the derelict arcade where the season's climactic cyber attack takes shape. It's the piano on the soundtrack, though, tapping out Maxence Cyrin's languid, almost elegiac rendition of the Pixies' "Where Is My Mind?," that marks the scene as one of the year's best, casting its lot with another portrait of resistance to deranged values—David Fincher's "Fight Club" (1999). "What did you hope to accomplish?" Wellick asks, finally. "I don't know," Elliot replies, the camera closing in on his face as the song approaches its resolution. "I wanted to save the world." Read More: "'Olive Kitteridge,' The Leftovers,' and the Uses of Disenchantment" It may simply be that.
- 11/3/2015
- by Matt Brennan
- Thompson on Hollywood
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