The music got to be so noticed I never thought that would happen." I thought it could be successful, but I didn't think it would turn into this! Especially - selfishly - when the theme became a big hit. The X‑Files was almost an instant hit was Mark aware of what was coming, or did he see it as just another job? "It felt a little bit better than just another job, working with a really intelligent group of people. As the shows progressed, I definitely think the music has become more involved, more musical, more melodic, more emotional, but still in that honest, minimal approach, which I think is the key to it." It worked out very well, and set a tone for the show. "It was sort of my direction to go in, and I did that at first. He wanted very supportive, very sustained atmospheric stuff that didn't get in the way."Ĭarter provided a temp reel - a copy of the pilot with a soundtrack made up of music from other sources. He didn't want obvious melodic, traditional, over‑the‑top scoring. What kind of brief did Chris Carter give? "At first, he didn't want story‑telling in the music.
I didn't get a sense of his intentions one way or the other, and two weeks later, I got the job." He visited twice, and it was the same both times: very nice, very respectful, but he left saying 'We'll be in touch' or 'I'll call you.' So I was thinking 'No problem, this will happen or not'. But he played it very close to his chest, so I had no idea of what he was thinking. Chris and I both live on the west side of Los Angeles, so he came over, saw my studio and listened to some of my music.
I first asked Mark about how he got the job of scoring The X‑Files: "Well, one of X‑Files' co‑executive producers, RW (Bob) Goodwin, is an old friend of mine, and he suggested me to the show's creator, Chris Carter, who I didn't know. Soundtrack composer Mark Snow's simple yet effective theme grabs the attention and sets the mood for the episode to come - and that episode is likely to contain more original music than the average TV show, with about 30‑35 minutes of music in each 45‑minute programme. When talking about the sound of the X‑Files, there's one very important element that deserves separate consideration: the music. Derek Johnson discovers that the music is out there. Mark Snow's quirky yet haunting X‑File theme tune was last year's surprise worldwide chart hit, and his atmospheric scoring plays an important part in setting the mood for this darkly compelling television phenomenon.
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