The opening sequence alone is an excellent example. First, you hear the sound of waves. What follows is complete silence, as the protagonist walks around the house quietly while her man sleeps, gathering her things in an attempt to escape. The tension builds and builds and then we hear a dog bark, followed by a rich and heavy score that elevates our heart rate. In an interview with Collider, Wallfisch mentioned that director Leigh Whannell wanted the music of The Invisible Man to not just be an accompanying piece but a character in and of itself.
Apart from that, Wallfisch also talked about how he used music to add texture to the characters. The Invisible Man opens in Malaysian cinemas 5 March 2020. And then, in contrast, Adrian Griffin, The Invisible Man, his world is entirely electronic and very aggressive. The sound which Leigh and I were trying to go for him was an electronic sound where things are pushed to the limit in terms of aggression at times, but also something very quiet and indistinct, so it almost creeps up on you. Adrian has a kind of synth leitmotif, something we called a ‘growl’. It shifts in tone throughout and gives him presence even when you can’t see him. It was really fun to have the string orchestra and the electronic elements to the score co-exist in that way.
