29 Neibolt Street
Wallfisch: On one hand, it's the classic haunted house, but on the other hand, I didn't just want to do a cliché haunted house tension cue. It was all about: whose point of view are you playing from as a musician?
In this case, the sequence is being led by Bill and his courage in his quest to find his brother. So he leads them into the house, they explore it, they subject themselves to all of IT's crazy pranks and tricks. In a strange way, it's kind of a playful sequence. You'll hear times when Pennywise is taunting these kids almost with a dance. You'll hear incredibly percussive, almost operatic moments, plus moments where you have a strange circus organ and then you'll hear something very quiet that's also intriguing and gentle. It was all crammed into this seven-minute sequence in the movie, and the key thing is for it to feel logical and effortless and also very entertaining.
We wanted the audience to be fascinated with this insane place. It wasn't enough to just enhance what was on the screen. It had to feel like Pennywise was controlling every aspect of their experience and carefully orchestrating every moment. So his presence was everywhere, but IT was felt in all kinds of varied ways, depending on the point of view of the character -- like when Richie is suddenly confronted with all the clowns in the clown room, and Eddie is confronted with the leper. It fascinated me that all the adults on the screen are all infected by this evil; they're almost as bad as Pennywise himself. Traditionally, you portray kids with a sense of innocence and a sense of levity, and the adults get the big themes. But in this case that was entirely flipped: All the adults could be summed up in one tone or in one color, whereas the kids had this incredibly multifaceted, rich character depth, which I had to work very hard to capture in the score.