Natalie Holt discusses her inspirations for composing Loki, working on Season 2, and her biggest challenge in composing for the season finale.
The Big Picture When you have a story about a time travelling god of mischief, it can be hard to pinpoint a musical theme much less score an entire two seasons of a television show about him, but Natalie Holt was up to the task. Returning to the show after composing for Loki Season 1, the Emmy-nominated composer has an impressive discography under her belt. Not only was she the composer for Season 1 and 2 of Loki, but she's composed for Obi-Wan Kenobi, Victoria, Paddington, and more.
NATALIE HOLT: It was just so nice. I loved it because I got asked to go on set and be a character in Episode 3. So yeah, it was just like I felt more bonded. I just feel so much part of the show and so fond of Loki, and like a relationship that builds up over time. Same producer and a lot of the same people on the team, as well, so I just felt like we got to do something that we were all really excited about, and then expand on it in Season 2, which was great.
HOLT: I used an octet at the beginning of Episode 3, sort of doing this very different version of the Loki theme. Then I used a sort of honky-tonk piano, and the Victor Timely theme is sort of really a callback to the 1890s. And I did a disco version of the theme in Episode 2, in the ‘70s, and just more playing around with the theme basically and playing around with time periods and genres. The end of Episode 4 is just this atonal sort of, like, Ligeti piece, with strange choral effects.
Oh, exciting. I'm gonna go listen to that after this. In terms of your work, where does it fall in the timeline of the show? Is it just purely in post, or is there some work being done while the filming is happening? What's your process with that?
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