Exclusive Interview – Composer Dan Deacon Discusses Scoring HBO’s Task

      Chris Connor converses with Task composer Dan Deacon…

      HBO’s Task has garnered high praise in recent months, meeting the significant expectations set after Brad Inglesby’s critically acclaimed Mare of Easttown. We spoke with Dan Deacon, the composer for the show, about the differences between Task and some of the prior films and series he has scored. Dan shared insights on what it was like to work on his first HBO series, navigating the FBI investigation, criminal elements, and the combination of rural and Philadelphia settings.

      When did you first become involved with Task, and what were your initial steps?

      Joining the team was a lengthy process. This project holds great importance for HBO, and it's the first series of this scale that I’ve done for them. I had previously collaborated with [executive producer] Jeremiah Zagar on Hustle and Monster Factory, as well as some commercial projects, so we had established a solid relationship. He mentioned, “Hey, I’m involved in this project with Brad Inglesby. If you enjoyed Mare [which I had and loved], you should meet Brad. I think it could be a great fit.” Coincidentally, I had a ballet staged in Philadelphia at that time, and both Jeremiah and Brad were in the city. They attended the ballet, which aligned with the series' vision, having a substantial influence from Steve Reich, Philip Glass, and a minimalist approach.

      We met backstage during the after-party and geeked out over various topics, bonding over our shared interests in minimalism. We stayed connected, and Brad helped me navigate the process with HBO. Conversations about music flowed naturally, much like a kid asking, “Do you like this?” That sense of camaraderie is crucial in any collaboration; a strong friendship and connection are essential because you'll be working closely together for a significant period, akin to living with a roommate. I've had experiences with collaboration where it didn't resonate, but this felt right from the start. I sensed that I could comfortably work with them based on their feedback, encouragement, and critique, all coming from a genuinely collaborative space.

      I officially came on board in January of 2024. I received the scripts and began crafting demos inspired by them, observing the various family dynamics at play. The task force represents a family, alongside Tom’s family, Robbie’s family, and the Dark Hearts, with their roles intersecting and overlapping. The show portrays that family relationships are not always idyllic, reflecting reality accurately. My initial approach was to read the scripts as inspiration for standalone music, rather than pinpointing specific themes for characters. I treated the scripts as a source of inspiration, allowing some ideas to take shape while discarding others, leading to a better understanding of what the show’s sound should be.

      A significant turning point in defining our sound happened when I visited Philadelphia, where they were filming a scene at the FBI headquarters in episode one. They mentioned needing something with drums that had a busy, Dan Deacon style. I quickly put something together, and between takes, we gathered in the least moldy room, as the office, while visually appealing, was situated in a building that hadn’t been used for a long time. We found a suitable space with a headphone splitter to exchange notes, marking our first bespoke cue. This was unique in the show, and we wanted to inject joy into that moment.

      During lunch, I had sent Brad about a dozen demos already, and he had opened all of them in separate tabs in his browser, essentially DJing them via Dropbox links. He expressed a strong affinity for the bowed vibes paired with the alto flute. This level of engagement with the showrunner early in the process was unprecedented for me, discussing options that might work for different themes. We derived a lot of material from that session, showcasing Brad's thorough and invested approach, which deepened my respect for his commitment. We worked from a track that initially contained about 64 stems, heavily featuring piano and harp, ultimately simplifying it to just the alto flute and bowed vibes in the show due to that session. To me, that marked the beginning of the show’s sound.

      Considering the need to follow both the FBI and the crew, how did you manage to balance those sounds?

      We aimed to maintain a modular sound since there’s considerable overlap between the groups. Even if they might not meet directly, there's an internal dialogue among characters, particularly with Maeve, who serves as a vital connective figure. Her point of view allows themes to resonate with the audience. I'm conscious of not giving away too much, but I’d describe it as ensuring elements could be layered and arranged effectively.

      I often rely on timbre as a motif rather than melody, ensuring that the timbre aligns well since we wanted to avoid overly busy melodies. While melodies are important, my primary tools are electronics and computers, so prioritizing timbre and texture was crucial. We aimed for unique sounds that clearly defined different groups, like the crew, Dark