A dark, playful, time-traveling series of massive scope, Good Omens was a “universe-sized show” in need of a universe-sized score, composer David Arnold explains.
A miniseries created by Neil Gaiman—based on the 1990 novel of the same name by Gaiman and the late Terry Pratchett—the series centered on an angel and a demon, coming together to prevent Armageddon, and enduring one comedic misstep after another in the process.
A 2014 Emmy winner for his Sherlock score who received his latest two nominations for Good Omens’ score and title theme (personally wracking up a devilish 66.6% of the comedy’s noms), Arnold’s task with the series was to wrangle all its complexities, playing with the sounds of good and evil, while finding truth within a heightened television space. “You have to find the truth in everything in order to write truthfully for something; even if it’s Godzilla or giant spaceships,...
A miniseries created by Neil Gaiman—based on the 1990 novel of the same name by Gaiman and the late Terry Pratchett—the series centered on an angel and a demon, coming together to prevent Armageddon, and enduring one comedic misstep after another in the process.
A 2014 Emmy winner for his Sherlock score who received his latest two nominations for Good Omens’ score and title theme (personally wracking up a devilish 66.6% of the comedy’s noms), Arnold’s task with the series was to wrangle all its complexities, playing with the sounds of good and evil, while finding truth within a heightened television space. “You have to find the truth in everything in order to write truthfully for something; even if it’s Godzilla or giant spaceships,...
- 8/14/2019
- by Matt Grobar
- Deadline Film + TV
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