How closely did you colaborate with the sound effects crew in achieving the over-all effect?
JH: I was working very closely with the sound effects people on that film. In fact, the head sound effects guy, whose name is Andrew London, had a whole sound wolrd he created, in terms of electronic effects. I wanted to make sure that I did not clobber his effects with lots of loud music, so I worked very closely with him to be abe to work around his sound without trampling him. CS: What was your basic approach to the musical score for Wolfen? JH: I wanted to create a sound world for the Wolfen, which was alien, yet which wasn’t just a lot of effects. It had be very driving and very primitive, but yet in a way that, hopefully, had not been done before, and I think I was fairly successful. On the alien vision scenes, I knew that everything was very highly stylised, and very subjective, and I created kind of driving rhythm which was, basically, the Wolfen’s music. There’s no melody–there’s a trumpet figure that keeps reoccuring, but basically I wanted to create a very driving type of f
