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01:40Adly, congratulations on your recent BAFTA win.
01:43Thanks very much. Thank you, thank you.
01:47When you accepted that award, you said that this was a dream project
01:51that only comes around once in a blue moon.
01:54What was it about such an idiosyncratic sci-fi thriller that interested you?
01:59I think in a project like Silo, the world-building is so dependent on the music in a way.
02:08It gets to really be a huge part of the fabric of an imaginary world we have never experienced.
02:15We don't know what this is like.
02:17And I also joked about in my acceptance speech that growing up in Iceland in the north
02:24in isolation was the perfect preparation for it.
02:28I think actually the Icelandic Tourist Board is going to have my passport revoked now
02:33because I keep talking about this.
02:35But anyway, it really was that sort of coming together of a very intriguing,
02:41futuristic world that we obviously hope we'll never see,
02:45but being allowed to have a lot of freedom and really be a part of creating that world.
02:51I think the Icelandic Tourist Board will be fine.
02:53I think there's quite a lot of people who want to see you in dark, claustrophobic winters.
02:57You might be okay.
02:58Talking of which, did you just hunker down in your own northern Icelandic silo to create this?
03:06Could you give us an idea of how you did this?
03:09Well, actually I did, but the only thing, it was in the summertime,
03:14and there's no darkness at all in the summertime in Iceland, even the night's bright.
03:19But yeah, all the initial ideas really came from being in my studio in the north of Iceland.
03:29Some really cool things came about or came to me in a way,
03:34one of them being the magnetic resonator piano,
03:38which is kind of a steampunk addition to the grand piano.
03:43It literally takes four or five hours to attach all these magnets to it,
03:48and then you can play it with a pedal almost like an organ,
03:51and it sounds really weird and otherworldly.
03:53In fact, the suite actually starts with that being played on that instrument.
03:58And for season two, we've just been to a silo in the west fjords of Iceland
04:03recording really weird noises in a decommissioned herring oil silo.
04:09It doesn't sound as bad as it—it doesn't smell as bad as it sounds.
04:14So I mean, a lot of it is about sort of finding unique inspirations in that place.
04:22Talk of which, on one hand this show is a very large sci-fi show.
04:27On the other hand, as even we saw in the visuals behind you, it's a very personal story.
04:31How did you differentiate those two?
04:34Yeah, that's a really good question.
04:36I think that when I tried to imagine possibly living under these sort of conditions,
04:44it must be incredibly lonely. It must be incredibly isolating.
04:49I go to kind of more traditional solo instruments for these personal things,
04:55like piano, solo violin.
04:58But the first thing I started working on when I was doing the score
05:02was just kind of programming tones with my synths.
05:05Just like sort of imagining there has to be some sort of a hum in the silo at all times
05:10because it's running on a generator.
05:12And then something that I think really worked in my favor is when I saw the first cut,
05:17there was no CGI.
05:18And so you don't see that huge spiral staircase.
05:21And I was just like, oh my god, there's no scope to this.
05:24I have to make the music really big.
05:26And then once the CGI came in, I was like, oh, maybe I didn't have to go quite that big.
05:31But I think it helped kind of stretching it in all directions.
05:35You'd worked with the director Morten Tilden before on another Apple show, Defending Jacob.
05:39Correct.
05:40How did you two collaborate? I gather he told you not to read the books.
05:44He did. He told me absolutely don't read the books because it's just going to confuse you.
05:48And yeah, so I mean, I just went for the scripts and started writing music.
05:56And that's how Morten is.
05:59He's actually quite hands-off, but he's incredibly clear about what he likes and what he doesn't like.
06:05So he's kind of a dream director to work with.
06:08And somehow, I don't know, maybe it's some sort of a pan-Scandinavian aesthetic,
06:15but we just kind of understand each other.
06:18You mentioned season two. You mentioned hunkering down again.
06:21What can we expect from your side of season two of Silo?
06:25Some more of the same, or sort of an evolution of the themes that we've established in season one,
06:30and quite a bit of really long reverb tails from a decommissioned herring oil Silo.
06:39Well, I look forward to hearing that sometime soon.
06:42Atli Orvas and everyone.
06:43Thank you. Thank you so much.