1 Crit­i­cal Mass

“Ben (Wheat­ley) comes from a solid place, and I sup­pose that fits with me. It was very sim­patico. [with this film] you could go very dark, very quickly. our aim was to present [the tower block] as a hap­pen­ing, liv­ing, breath­ing sort of place.”

2 Silent Cor­ri­dors

“This track is try­ing to give a sug­ges­tion of where Laing’s (Tom Hid­dle­ston) headspace may be. there’s an un­der­ly­ing melan­choly to him. whilst there’s a very strong, busy com­mu­nity in this block, it can also be very lonely.”

3 The World Be­yond The High-rise

“We worked with a lot of dif­fer­ent stuff on this score. I’d writ­ten a ‘game­lan’ (an In­done­sian style of mu­sic) part in a western style, but the Bel­gian game­lan play­ers re­fused to play it be­cause it was not tra­di­tional. I came back to Lon­don to work with a guy called Alas­dair Mal­loy: he plays a glass ar­mon­ica, in­vented by Ben Franklin. He cre­ated this faux-game­lan thing out of steel scaf­fold pipes. It brought an ex­tra weird­ness.”

4 The Ver­ti­cal City

“This was the one place we al­lowed our­selves to go ‘pe­riod’, if you like. we didn’t want to do it too much be­cause, as Ben says, the book (by J.G. Bal­lard) was writ­ten look­ing for­wards, but the movie is done look­ing back. you had this op­por­tu­nity to be sort of time­less.”

5 The Cir­cle Of Women

6 “Built Not For Man, But For Man’s Ab­sence”

7 Dan­ger In The Streets Of The Sky

“This is where it’s all kick­ing off! Ben came over to Los An­ge­les for about five days and we worked through the en­tire score. It was very col­lab­o­ra­tive and that’s what I’m al­ways look­ing for.”

8 “Some­how The High­rise Played Into The Hands Of The Most Petty Im­pulses”

“All the track ti­tles are built out of the book... I’d read the book a few years ago, but I re-read it when we were do­ing the film to find ti­tles or phrases that would be evoca­tive of the ex­pe­ri­ence.”

9 Cine-cam­era Cinema

10 A Royal Fly­ing School

“This cue didn’t end up in the film. When Ben is mix­ing the film, he can go, ‘well, we ac­tu­ally don’t re­ally need that.’ we’ve had so much mu­sic by the time you get to that point in the film, you re­ally need to start tak­ing a breath. But the magic of it is hav­ing the chance to try these ideas.”

11 The Evening’s En­ter­tain­ment

12 Blood Gar­den

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