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“We had talked about what it’s going to sound like; he wanted references. I said, ‘Christine,’ in terms of what the sound should feel like and what we’re going for,” said Thomas, adding, “He watched the film. He gave me his overall notes of ‘Here’s what I’m thinking of doing.’ From there, it was pretty much ‘John, do your thing. I’ll listen to it. I’ll give you any notes if I have them, but I trust you a hundred.’ I mean, who am I to say?”
In a way, working on the score to “Firestarter” must feel a little bit like sweet revenge, especially since Carpenter was fired from directing the 1984 adaptation by Universal after his previous project, “The Thing,” was poorly reviewed. The joke is definitely on Universal, considering “The Thing” is easily regarded as one of the best horror films of the ’80s and Carpenter was still able to make his way back to “Firestarter,” even if it was in a roundabout way and more than 35 years later. As Thomas explained it:
“We didn’t get into his history with ‘Firestarter.’ John’s a very straight shooter. He’s like, ‘Right now, I’m composing this score, and this is what we’re going to do.’ So I didn’t want to bring it up. But I think it was, in some ways, liberating for him because it was his first score not directly tied to something that he had done. He and Cody [Carpenter] and Daniel [Davies] were able to play in interesting ways. It’s still very Carpenter. It’s still very much what you would expect and what you’d hope for.”
“Firestarter” is in theaters and streaming on Peacock now.
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