The Last of Us: Composer’s Surprise Over Season 2’s Bold Joel Twist!

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As a die-hard fan of The Last of Us, I wasn’t prepared for the shocking twist in episode 2 of season 2. Just like gamers who’ve been anticipating this moment, I found Pedro Pascal’s character Joel meeting his end at the hands of Abby (played brilliantly by Kaitlyn Dever). The kicker? Abby revealed that the man Joel had brutally killed was her father. This gut-wrenching scene has sparked a lot of discussion among fans, mirroring the complex and brutal post-apocalyptic world that this series is known for.

In the TV adaptation of The Last of Us, Joel’s death scene was much like its portrayal in the game, but what sets episode 2 apart is a greater emphasis on Abby’s storyline. This makes her journey in season 2 of The Last of Us more relatable to viewers. The tense and fearful atmosphere experienced by the residents of Jackson as they fought off hordes of Infected was vividly brought to life, thanks largely to the work of Emmy-winning composer David Fleming. Known for his work on Mr. & Mrs. Smith and Jim Henson Idea Man, Fleming collaborated with original game composer Gustavo Santaolalla on the series’ score, primarily focusing on the most intense action scenes.

David Fleming was recently talked to by ScreenRant about his role in crafting the most debated scene in The Last of Us, as well as his overall contributions to the series. Fleming went into detail about how he carefully constructed the climax of the episode and catered to the story’s emotional requirements while simultaneously developing an intense action soundtrack for the Jackson sequence. Moreover, Fleming offered insights on how his work on The Last of Us season 2 differs from what he accomplished in the first season.

Joel’s Death Had David Fleming… Pleasantly Surprised?

“I Really Appreciate That They Fully Committed To That”

In 2020, when “The Last of Us Part II” graced our consoles, the intense response from players upon the early-game death of Joel was palpable. Given the undeniable charisma of Pedro Pascal as Joel and the creative minds of Neil Druckmann and Craig Mazin, it didn’t seem far-fetched to imagine that they might find a way to prolong Joel’s life, if not indefinitely, within the series. Even composer David Fleming shared my curiosity, expressing, “I was pondering whether they would delve into this on the TV show, considering Pedro’s widespread popularity and the enduring appeal of Joel.

Fleming remarked, “I had a feeling they might hold back a bit, despite their no-holds-barred approach in season one. I’m relieved they didn’t tone things down in season two as well.” He went on to say, “It’s truly heartbreaking, and I’ve received countless messages expressing disappointment about Joel… yet, it’s crucial for the development of Ellie’s story and the overall plot. Moreover, it underscores the harsh reality of the world we’re depicting.

Fleming expressed his gratitude as they truly stuck to their commitment, he added. “It wouldn’t have been difficult for them to come up with reasons not to involve their main character, but Neil developed the games and Craig is a passionate fan,” Fleming continued, “so I believe they would never compromise the essence and narrative of their originating material.

The Mad Musical Marathon Of Episode 2, Explained

“It’s Just Getting Worse And Worse … It’s Unraveling”

In episode 2 of The Last of Us season 2, the narrative primarily focused on gradually intensifying emotions leading up to Abby’s brutal murder of Joel. However, despite the heavy emotional weight, there were instances that necessitated intense musical cues. According to Fleming, “Much of it was about orchestrating the episode’s escalating tension, and when you think you’ve finally escaped the relentless hordes of infected attacking Jackson, you encounter what could arguably be the most emotionally crushing scene in the entire narrative.

Fleming’s dedicated efforts commenced when Abby found herself surrounded by a chilling crowd of Infected, unknowingly triggering a catastrophic attack. During the creation of this scene, Fleming collaborated extensively with showrunner Craig Mazin, explaining that they experimented with numerous alternatives and strategies to ensure each encounter felt unique and intense. The challenge lay in the fact that the Infected continuously resurface, but there are various methods and intensities at play, so every interaction needed to be distinctive and impactful.

After the horde stirred into action, the situation unfolded like a thrilling rollercoaster ride. From what I gather, the attack on Jackson by the Infected seemed to be the most grandiose and daring display that “The Last of Us” had witnessed so far. Fleming described it as being “on a scale comparable only” to season 1 episode 6, where a large group of Infected overran an armed militia of survivors. Even that was “tiny in comparison” to this extended battle sequence.

To generate the necessary emotional peaks in the sequence, Fleming opted to amplify the use of brass instruments and larger drums, explaining, “In certain instances, we needed to go grander than usual. For the siege of Jackson, it was essentially a blend of narrating two distinct stories.”

Fleming further explained, “The sequence initially unfolds as one tale, expressing, ‘This is what they’ve been working towards.’ They have a strategy, so when they spot this massive horde approaching, it’s about the preparation. It carries a military tone.

Then, Fleming pondered, the situation spirals into disorder because they’re completely swamped. From a narrative standpoint, a significant part of the story is about setting up expectations with ‘Here we go, we’re prepared for this,’ only to have it turn into ‘No, no, no, no, we’re not.’

How Craig Mazin & David Fleming Shaped The Sound Of Joel’s Last Moments

“I Think It Really Adds To The Shock”

David Fleming commented on working with Craig Mazin from “The Last of Us” series, stating that he is incredibly detailed when it comes to certain sound elements. They discuss the appropriate sounds for each group, such as the Infected, Abby’s group, and Ellie, delving deeply into specific details which is beneficial.

Collaboration played a crucial role in the evolution of Joel’s death scene music, as the tune underwent multiple transformations. Originally, it was more lively and active, resembling scenes from The Last of Us less, Fleming revealed. However, Craig decided to introduce more silence and key moments, ultimately leading us to a piece by Gustavo that perfectly fit at a pivotal point when Abby discusses the hospital. This journey towards the final product was not straightforward.

Fleming delved further into his partnership with Mazin as they grappled with Craig’s frequent suggestions of removal. Given that television is a passive medium and the source material is a video game where one feels immersed in the character, they aimed to maintain that sense of engagement instead of having viewers feel like they are merely watching characters on screen.

In terms of interpreting this for music, it implies playing more subtly and minimally during these instances, creating a less attention-grabbing effect. So, Craig’s advice is often to make the impactful moments more grandiose, while the quieter moments should be made even more delicate. This technique significantly enhances the surprise and emotional intensity of the scene.

Different Instruments Were Used To Introduce Different Infected

The Premiere’s Smart Infected Got Its Own Signature Sound

Prior to the debut of season 2 for “The Last of Us”, the most recent episode showcased an exceptionally fearsome and intelligent mutant – a creature that expanded David Fleming’s inventory of musical instruments within the “The Last of Us” universe. The composer explained that the scene allowed them to further develop sounds that were unique and distinctive.

The unique sound selected by Fleming for the cunning yet beast-like antagonist was an Appalachian dulcimer, a musical instrument he had never utilized before. However, in his own words, “I don’t remember using it on season one. I can’t really pinpoint what led me to do it – all I did was grab my iPhone and bow it in a bizarre manner. It produced this eerie, almost vocal moan. I can’t quite explain it, but as soon as I heard it, I thought, ‘Ah, that’s the sound of this intelligent stalker.’

Fleming Explains How His Work Fits With Gustavo Santaolalla’s

They Pull From “The Same Post-Apocalyptic Pawn Shop”

In the TV adaptation of “The Last of Us,” two musicians contribute to its soundtrack – David Fleming, who focuses on the action-filled scenes, and Gustavo Santaolalla, who reprises his compositions from the original game. Fleming shared that their music aims to create a unified whole, ensuring that although there are new elements, they still preserve the same emotional tone, so as not to make their scores too dissimilar.

The composer went on to emphasize that there remains a connection between them. Recently, he has been visualizing his music and Santaolalla’s as distinct personalities. Both have discovered their musical tools – “a collection of old guitars, old banjos, and battered string instruments” – in the same location.

According to Fleming, one character could be a deeply emotional guitarist who’s thrilled to rediscover these musical instruments, while another character might be an electronic musician unfamiliar with guitars, yet curious and eager to create music using them. Essentially, they are both drawn to the same source, but their methods of dealing with it differ, which Fleming believes adds depth to the show’s narrative.

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2025-04-23 06:20