M3GAN Composer On Scoring Homicidal Dolls & Dark Humor


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Warning: SPOILERS for M3GAN.2023’s horror slate began off with a bang thanks to M3GAN, the hilarious, brutal, and thrilling sci-fi movie about a murderous nanny doll that brought audiences to theaters in droves. M3GAN’s success was so instant that a sequel was greenlit shortly after launch, with M3GAN 2.zero already slated for a 2025 launch. Directed by Gerard Johnstone, M3GAN features a story by acclaimed horror creator James Wan, and a screenplay by sci-fi and horror skilled Akela Cooper.


Another standout facet of M3GAN was the movie’s music, which was in on the stakes and the humor of the film in equal elements. The score for M3GAN was written by Anthony Willis, who blended musical strategies and carried out unique instrumentation to assist deliver the movie to life. Willis contributed closely to some of the already meme-worthy M3GAN’s standout moments, as he arranged the music behind the titular toy’s performances of the Sia and David Guetta music “Titanium” and the unique track “Tell Me Your Dreams”.

Related: 7 Ways M3GAN Can Return In The 2.zero Sequel

Anthony Willis spoke with Screen Rant about everyone’s favourite track preparations, scoring M3GAN, and more.

Anthony Willis on M3GAN

m3gan titanium singing perfect

Screen Rant: M3GAN was one of many first popular culture ‘moments’ of 2023. How has it been so that you just can see the reception?

Anthony Willis: Oh, it is the best situation you probably can have for one thing that you have poured your heart into. I’ve undoubtedly worked on issues that haven’t had an audience, because of timing, or due to the pandemic, or due to all kinds of reasons. The film business is such an amazing one, and so many things have to happen for a film to get to you, so I feel so fortunate. It’s the dream; that one thing ignites individuals’s excitement and especially has gotten folks in theaters. That’s been a big wake-up name; I assume folks were pondering, “Oh, well, the one films we’re really going back to big theaters for are big-budget movies.” I suppose M3GAN is an anomaly in current years, of, “Hey, just because it is not a $200 million film doesn’t suggest individuals will not go and see it.” That’s actually exciting.

When this movie was first pitched to you, how was it described by way of tone? It goes to so many places.

Anthony Willis: Blumhouse clearly are the leaders in horror. I guess I’m biased. [So] if you hear about a film, cynically, one would possibly go, “Oh, it’s going to be that film, or this movie,” but when I met Gerard, immediately he was like, “No, this needs to be intriguing. M3GAN goes to be a femme fatale.” He had all these concepts about M3GAN – that had been very much in Akela’s script – however he simply instantly knew that this was going to be a singular experience. That was basically the method it was sold to me, was, “This goes to be one thing really cool.”

He really appreciated my score for Promising Young Woman and that kind of femme fatale side, so I think that’s what attracted him to me. I was clearly attracted to him as a outcome of he actually listened to my music and favored it. I was like, “Oh, he would not just essentially want screechy strings, he needs one thing deeper and richer.” That’s why, I assume, he looked to me and never very achieved horror composers who’ve done lots of and lots of of horror movies. He additionally knew that he wanted – I assume the rating for M3GAN really runs the gamut. There’s Disney parody, there are track preparations, there’s obviously eerie stuff, there’s intense motion; there’s only a lot. I suppose that he was looking for anyone who may handle those completely different strands.

Did you realize from day one that you had been going to need to go to all those extremes, musically?

Anthony Willis: No, it truly took a while for the penny to drop for me that M3GAN could maintain so [many] totally different sorts of music. Composers are at all times in search of a approach to consolidate, and create a common language. Really it came from Gerard. He was like, “No, no, let’s push it. I really need the motion to have intensity.” Then, there is a sweet innocence to plenty of the music, and a magic, and a sort of dark Alice in Wonderland [feeling], however in a contemporary tech setting. Really, I think it is right down to the character within the movie he made that she shall be in a position to hold such a broad range. And, after all, there may be numerous throughline in the thematic language and the harmonies I’m utilizing. That’s one thing I’ve at all times realized: when you have a fairly constant concord that you simply come back to, that may create a constant feeling, even when the timbre of it modifications.

Were you then using certain instrumentation for the sarcastically candy cues, and switching to different instruments for the extra thrilling or action-heavy sequences?

Anthony Willis: There’s an ebb and flow to all of it, and colours that are the frequent denominator in a lot of it. Even within the motion music there’s harp, which is a feminine color. It turns into really interesting when it’s in motion music, as a outcome of it’s this stunning shade that’s very darkish when it’s ripped actually quick. [It’s] really robust, heartless. And clearly, [there are] the strings, which Gerard has beloved. One of the things that took me unexpectedly early on is, he was like, “I really need it to be warm.” I was like, “Has a horror director ever stated that, ever?” I think individuals have actually picked up on [the fact] the movie is far more than just a film that’s got some scares in it.

I wish to ask about “Tell Me Your Dreams”. I know both you and Gerard are credited as writers on the track. How did that come about? Did he write the lyrics, and also you write the music?

Anthony Willis: That’s right. There was a song idea written into the script. Almost as soon as I joined the challenge, they were filming this music, they usually had been like, “Hey, we’d like this song.” I reached out to Gerard, and he was like, “Yeah, we’d like it in two days.” I sent him a theme idea, and the idea of it was one thing that I thought was a little bit AI – one thing that an AI may probably write. It was quite simple, and fairly modular, and it was only a piano map. He then sent again these brilliant lyrics including the title “Tell Me Your Dreams”, which was actually good. Gerard has obtained so many hats; he wrote these sensible lyrics in lower than a day.

Then, he needed to film it. The close-ups had been filmed with an animatronic M3GAN, so anytime she spoke or sang, the roboticists had to program the lyrics. It was a really tough thing. I was fortunately here in LA, and Gerard was sweating in New Zealand; it was very sophisticated to program the lyrics. He wanted to get a response from the people within the booth who have been witnessing M3GAN sing; he wished a way of what they might feel on this second.

It was hard to know the way honest to be about this unbelievable moment. I first obtained to truly see the film with a giant audience at the premiere, and it was clearly very favorable as a end result of everyone had worked on the movie, but what’s been so cool to pay attention to about each “Tell Me Your Dreams” and “Titanium” is [that] people are just so shocked by it when it happens. I think that is the essence of why it is so wonderful. This movie has accomplished properly in the theater as a result of it is everybody vibing off the comedy of it all.

Anyway, to get again to the story, for a while we weren’t sure how electronic the rating was going to be. [We wondered if it was] going to be very synth-y, and an homage to the superb scores that Trent Reznor and Atticus Ross do – very modular, and sincere, and dark – so I didn’t arrange the song for some time. Then, Gerard went, “Let’s make this make it like a Disney music.” That’s what I love about Gerard; he is type of an outdated soul, however he is very cool, too. Luckily, the melody and the music I had written did lend itself to that; It had that in there, and simply hadn’t been opened up but. It was in a piano arrangement for a very lengthy time, nd I assume a lot of people had been like, “What is this going to be?” I sent him this Disney-fied orchestration, after which Gerard was like, “Oh, yeah, that’s it.”

I have to mention, we did document it with Jenna fairly early on, and she or he’s good. Not only [in] what she dropped at M3GAN’s characterization throughout the film, however her vocals were phenomenal. I’ve since discovered that she is actually fairly a critical singer, not only a voice actor. I suppose voice appearing is newer to her, so kudos to her. She was sensible.

Was arranging “Titanium” a similar process? And was that in the script, or was it something that popped up later?

Anthony Willis: “Titanium” was one thing that Gerard added into the script, I believe, which was clearly a genius choice. I’m at all times a little bit of a scrooge when I hear about issues like that, because early on my career I’d work on motion pictures and they’d be like, “Oh, yeah, we’ll have this music,” [and it didn’t always work out]. Needless to say, that track was really hard to get [in terms of] a license. I remember when Emerald advised me she was going to have “Toxic” in Promising Young Woman. I was like, “Okay…” and she was like, “No, no, I’m getting ‘Toxic’. The whole film has to have ‘Toxic’.”

“Titanium” was the identical, and it was only a sensible alternative. I think that one was much more intuitive, as a end result of obviously we had the prevailing track, but also the setting was M3GAN singing a lullaby to Cady. It was quite easy, however I think Gerard was the sensible one to push me to permit it to construct somewhat bit. It’s very quick, but he was like, “I need it to be like M3GAN kind of gets into it, and gets a little bit in love with herself.” Those little particulars, I assume, are what folks actually love about the character. The movie he is made, and the characterization of M3GAN is like, she’s a little bit pleased with herself that she will do somewhat a good job. Later on, she plays “Toy Soldiers” on the piano. How cool to get to work on a movie the place music is so kind of entwined into the character? Obviously, that then lends itself to attain as well.

Did you experience any type of problem in going to all of these completely different musical places as you have been writing?

Anthony Willis: That’s an excellent question. I assume it’s nice to have variety, and you kind of treat your cues like your children, and play them off each other. I’m not a mother or father just but, so maybe I’ll really feel differently about that quickly, but it’s good to have the change.

I am a bit of a softy. In my background in animation, I am drawn to fairly music, in order that aspect of M3GAN was actually fun to do. I love that things are lush. Also, Gerard needed the score to be kind of hypnotic, especially as she’s early on in her sentience and she or he’s starting to process issues. [We wanted] music that repeats. It’s like a tapestry – what you’d name a soundscape. Things that come together in a hopefully elegant means.

There’s one sequence in the movie that we worked really exhausting on. The monitor is recognized as “On the Subject of Death,” and it’s when M3GAN has this a-ha second. The objective with that was always that when she learns about Cady and what occurred to Cady’s dad and mom, it’s something that we felt within the music because the starting of the film – since Cady’s arrival, since Gemma picks her up from the hospital.

I did this three-note motif. When she drives her residence, with that stunning shot across the bridge, it is there in a barely up to date drama arrangement. Then, that gets picked up by M3GAN when she finds out that Cady’s dad and mom have died, after which she starts processing dying. The idea is, structurally, that you just’re not just going “Well, here’s a film that is like another movie the place the lady’s lost her mother and father, after which now it’s a completely completely different movie.” Actually, M3GAN is completely reacting to that, however then makes it her own. I introduce creepy, ethereal vocals that my good friend Holly Sedillos did. She’s terrific. That stuff, I found particularly gratifying – M3GAN discovering her world, and processing her environment.

One of the issues I tried to do is take natural instruments, but give them slightly synthetic roles. In that exact piece, there is a vibraphone that is doing a pattern that really could be an oscillating synth. I love vibraphone as a end result of I think it’s really good for tech. It’s human, nevertheless it’s metal, and it kind of vibrates in a means that is like, “Is it a synth? Is it organic?” It hangs out right in that center ground. That was a big a part of the intrigue. It was a blast. It’s actually cool to see how folks have enjoyed the rating, and I’m simply really excited for everybody concerned in the film as properly.

About M3GAN

M3GAN on the Forest Floor

When Gemma (Allison Williams) suddenly becomes the caretaker of her orphaned 8-year-old niece, Cady (Violet McGraw), Gemma’s unsure and unprepared to be a mother or father. Under intense strain at work, Gemma decides to pair her M3GAN prototype with Cady in an try and resolve each problems – a decision that can have unimaginable penalties.

Check out our other M3GAN interviews right here:

Next: M3GAN Continues A Promising Horror Trend

M3GAN is available to rent and purchase on-line, and M3GAN (Original Motion Picture Soundtrack) is available on digital platforms.


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