Exclusive Interview – Composer Dave Porter Discusses Pluribus

      Chris Connor speaks with Pluribus composer Dave Porter…

      Pluribus emerged as one of the major successes of 2025 for Apple TV+. The series brought composer Dave Porter back together with Vince Gilligan, the showrunner of Breaking Bad and Better Call Saul. We had a conversation with Dave regarding how he approached scoring this unique sci-fi series, the growth of his collaboration with Gilligan, and the influences behind the show’s musical landscape.

      Can you describe your initial process for Pluribus and your early steps?

      Certainly! If you’re familiar with film music, you know that it’s often one of the last components added. However, I asked them to keep me updated on where things were heading, as much as possible. We operate in a very secretive environment, as you can imagine. I had some early discussions with Thomas Golwhich, our music supervisor, Vince, and the writers. We like to have lunch with them at the start when they’re in the writers' room working on ideas, discussing tone and general direction, especially for this project.

      I have had the privilege of working with this team for decades, but this is the first time since the Breaking Bad pilot that we’re starting from scratch. This is an entirely new universe; while the previous shows shared common threads, Pluribus represents a fresh and intricate world created from the ground up. I asked many questions and we explored various approaches to the music for the show, aiming to rethink our use of music compared to previous projects.

      Can you walk us through scoring the opening episode as the plot begins to unfold?

      It was a fantastic opportunity for us, and we aimed to treat it like an exhilarating thrill ride. In that first episode, I leant into all the elements that an audience expects from a significant sci-fi or horror moment. It was crucial to have fun while also establishing the scope and scale of the destruction and the bizarre situation Carol finds herself in, as it serves as the foundation for everything that follows. Musically, I drew inspiration from some of my favorite film scores, including those from Bernard Herrmann’s era, while introducing a modern twist that I hope feels distinctively mine.

      The show's tone shifts through genres, much like Vince's previous work. Can you explain how you captured the various styles the show encompasses?

      The challenge in working on a Vince Gilligan series is that the tone is always evolving and often leads to unexpected places. That’s part of what makes his shows special, but it also presents a significant challenge for the score, particularly more so with this series than with previous ones. We're making even more pronounced shifts and showcasing a wider range of emotions than before.

      There’s genuine fear and terror present, but there’s also warmth and humor. We incorporate a more overt sense of humor than in past projects, while still maintaining a significant amount of love, humanity, and passion in this show—qualities that were more subdued in Breaking Bad and Better Call Saul. Shifting between these varying tones was complex, leading me to rely more on human performances compared to earlier shows. We used less technology and synthesizers, which I previously relied on heavily, particularly in Breaking Bad. In this series, we focus more on large groups and solo performances, reflecting both the grand scope of the show and the individual characters’ struggles. The human voice plays a significant role, as nothing is more human than the voice itself.

      Though there are familiar settings, the tone of the show is starkly different. How did you approach Albuquerque and the locations featured here?

      Interestingly, I'm trying to overlook Albuquerque in this show. While it was a significant part of the previous two series, it is depicted differently this time as a more upscale, suburban, and homogenous version. The show carries a global feel, especially as it progresses, following survivors from all over the world. They filmed in some stunning locations during this first season, and I didn’t want to limit the story to just New Mexico, as it encompasses much more than that. New Mexico holds sentimental value for us, and its blue skies certainly inspire when composing a large score, which I make the most of where possible.

      This project is more intimate than your other collaborations in some respects. How did you find concentrating more on Carol's narrative?

      That’s absolutely correct. This show spotlights fewer actors who bear greater burdens. The performances are incredible and ground the show. However, the nature of this story allows for more focus on individual arcs. As is typical with a Vince Gilligan show, characters evolve and change consistently from episode to episode. Therefore, I typically approach scoring by creating a palette of sounds for specific characters instead of distinct themes, as those would have to adapt frequently and could become distracting. For instance, I have themes for certain situations and moments—there's a recurring theme for Carol and her partner, Helen, that underscores their connection and is crucial to understanding Carol’s journey.

      For Manousos, I’m utilizing more brass to convey