How composer Ludwig Göransson channels J. Robert Oppenheimer and Christopher Nolan too

“The audience needs to feel what he’s feeling. “I’ve always viewed the music as needing to be integrated early into the DNA of the film,” Nolan says, “and not applied afterwards, you know, like a sauce on a piece of meat.” So Göransson — the Swedish wonder who has worked his aural magic on “Creed,” “Black Panther” and “The Mandalorian” — diligently wormed himself inside the headspace of not only Oppenheimer, but also Nolan. Awards Ludwig Göransson decodes his sometimes forward, sometimes backward ‘Tenet’ score The composer musically communicates the entropy and reverse entropy, and jaw-dropping action sequences of the Christopher Nolan film “That’s what I got from reading the script,” says Göransson. “It’s essential to the narrative.” At the suggestion of Christopher Nolan, composer Ludwig Göransson created a propulsive track to back a staid scene of men talking around a conference table. “Chris was like, ‘I think we need to approach this last courtroom act as an action scene,’” says Göransson, “‘and use it almost like action music.’ So I wrote a 40-minute action cue.” What otherwise might have felt like staid, black-and-white conversations in a small room, in Göransson’s hands became as thrilling and propulsive as one of Nolan’s daring, stunt-driven set pieces.