Composer Tim Wynn discusses Final Destination: Bloodlines - Exclusive Interview

      Robert Kojder speaks with Tim Wynn, the composer of Final Destination: Bloodlines...

      Not even death can eliminate a thriving, entertaining franchise like Final Destination. A significant factor in its resurgence is the orchestral score by Tim Wynn. An accomplished composer in various fields, including film (Freaks), television (Supernatural), and video games (The Darkness II), he has honed his craft under renowned artists like Jerry Goldsmith and has contributed music to a documentary for Steven Spielberg.

      Final Destination: Bloodlines is arguably his most prominent project to date, and it was a privilege to discuss the creative process with him. We delve into instruments developed specifically for the film (one of which sounds as ominous as anything portrayed on screen), the balance of humor and horror in the music, his favorite deaths from the franchise, and his collaborations with directors Zach Lipovsky and Adam B. Stein, along with some gaming discussions. We also touch upon the touching final performance by Tony Todd and how it resonates through the score.

      As I mentioned in my review, the film is a wild ride filled with gruesome deaths and dark humor, and it features a heartfelt moment as well. This made my conversation with Tim Wynn even more gratifying, as he offers valuable insights, displays a passion for his craft, and was sincerely appreciative of our discussion. Enjoy the interview:

      This movie is a blast. You really did a fantastic job with it.

      Thank you!

      Did you get to view scenes before composing music for them, or did you create the score based on the script, or was it a combination of both?

      I developed the main theme before reading the script, along with a few cues that would help envision the franchise's direction. After reading the script, I wrote additional cues. From that point, I wanted to wait until picture lock because, as a composer, you can have a musical idea that seems perfect, but until you see it with the film, you can't be entirely sure.

      How did you approach scoring a film that wants audiences to feel fear and emotion while also encouraging them to root for the elaborate death traps and violence? It has a lot going on tonally.

      It’s definitely a balancing act. Particularly with this film, there are many highs and lows—plenty of comedic moments. I try not to overemphasize the humor and focus on conveying that Death is out to get the protagonists. I want the audience to feel tense throughout, even when there are jokes sprinkled in.

      Part of the full orchestra features a uniquely crafted instrument called a Bloodbox, made from a Yugoslavian military crate with strings and metal objects. What inspired this creation?

      I was seeking a distinct sound to incorporate into the orchestral score. In Iris's compound, which has protected her from death for over 30 years, she surrounded herself with tin cans, metal, and various homemade burglar alarms. I felt I needed something that could create rough, gritty sounds to complement the orchestra.

      What was your favorite scene to score using the Bloodbox? Would you say the compound was one of them?

      Definitely! The compound was a highlight. I used it in a few spots. It produces a really screechy sound in the main titles. We started with the New Line Cinema logo and then transitioned into the main theme, followed by the train tracks. The screeching sound from the Bloodbox is incorporated throughout.

      Sometimes licensed songs interrupt the action, including your score, and those moments are intriguing and clever. How did you prepare for that while composing music, and how does it affect your score?

      It was a pleasure to write for a film that features the Isley Brothers’ Shout song, which is one of my favorites from that era. I thought they did an excellent job incorporating it. The band members performing it were electric in the Skyview. I allowed the songs to do their work, then waited for the scary parts to come in and accentuate what the characters are fearing.

      You did an impressive job. I think the movie balances everything very well. Also, I know you’ve worked with Zach Lipovsky and Adam B. Stein in the past. Can you discuss what makes you a strong team for horror and how scoring this film differed from working on Freaks?

      I know these guys are brilliant; I've worked with them for 10 years. They have a wicked sense of humor, so I believed they could effectively revitalize Final Destination by balancing the horror elements alongside the humor and deeper stories. Freaks had a compelling narrative and focused on drama, so they chose not to create just another slasher film. They aimed to produce a story that could stand alone even without the deaths. They truly executed it brilliantly.

      Do you have a favorite death from the Final Destination series?

      There are certainly a few to choose from in this film.

      Oh, absolutely. The MRI scene is intense!

      Yeah