“He kind of sounds like how my brain works.
His level of madness and insecurity reminds me of how I feel.”
Perhaps that’s why Elfman and Reznor have had such similar career paths.
Tim Burton (left) and Danny Elfman have worked on 15 films together.Kevin Winter/Getty Images
What a time!").
“Now that I’m Mr. Collaborator,” Reznor says with a chuckle.
“I’d love to,” responds Elfman.
Trent Reznor with co-composer and fellow Nine Inch Nails member Atticus Ross.Chris Pizzello-Pool/Getty Images
“I’ve opened that dusty old door.”
Adds Reznor, “It’s creaked open.”
ENTERTAINMENT WEEKLY: You’ve both had strikingly similar career paths.
Reznor has found enormous success both with his band Nine Inch Nails and as a film composer.Gary Malerba/Getty Images
Each of you have fronted successful bands before becoming film composers.
When did you become aware of each other’s work?
TRENT REZNOR:I’ll start.
Elfman performing music from the films of Tim Burton, Halloween 2014.JC Olivera/WireImage
I was an Oingo Boingo fan.
I caught you guys playing at the Phantasy Theater back in Cleveland.
DANNY ELFMAN:Oh my God.
[Danny covers his face.]
I’m not saying that out of pure flattery.
It’s just, when I hear Danny’s scores, my brain doesn’t work that way.
ELFMAN:Well, first off, thank you.
I’m a bit speechless…
I definitely relate to not knowing what I’m doing and feeling like an imposter.
When I was [asked to compose]Pee-wee’s Big Adventure,I almost said no.
I don’t know how to do that."
I go, “No, I can’t, especially not for this period piece.”
Which I knew he was going to do.
I could hear it.
Was he going to take the easier route or the harder route?
The easy route is doing what everybody expects you to do.
REZNOR:Well nowI’mspeechless.
And because they knew I wasn’t trained, I got a lot of grief.
Did that sense of genericness push you into taking a left turn withBig Mess?
ELFMAN:Nothing pushed me other than the pandemic.
I was angry and depressed, and I had a guitar and a microphone.
Really, it was more about venting.
Trent, what did you think of Danny’s record?
Unlike Danny, I didn’t feel motivated.
I wanted to make an opus, but I found myself too immobilized by fear.
And then his record shows up with a “Would you like to sing on any of these?”
And I was like, “Oh f—, yeah I would.”
And I was surprised at what it sounded like.
It just felt like I-don’t-give-a-f— music that was confrontational and exciting and ridiculous and excellent.
ELFMAN:[Laughs]It sounds like that.
REZNOR:Problem, though, was when they asked what I would like to sing on.
It sounded wrong for me to attempt to fill that space.
I haven’t had to work the console for 20 years.
And so I just said, “Look, I’m going to send a bunch of stuff unedited.
If not, don’t feel obligated to patronize.”
It was a really nice distraction for me.
Just to overshare, trying to pursue or nurture friendships is not a strong suit of mine.
I don’t know how to; I see other people do it.
ELFMAN:I was floored when Trent sent material back to me.
I’m so wired to think nobody’s gonna like this s—.
I was too embarrassed to reach out myself.
“True” is one of the first songs that I wrote for the album.
I didn’t know what my voice was going to be anymore.
So I had to kind of re-figure out what to work with.
I couldn’t have sung this song back in those days.
And it was really an interesting experience.
I’ve never done that before.
ELFMAN:… You know, with the Grim Reapersmashingat me.
But it’s like, what the f—?
I think the high point this year for me was this collaboration because it’s something I never imagined.
Trent, collaboration was something that came later for you as well.
REZNOR:It sprung from necessity.
You know, initially I didn’t love the idea of a band and a collaborative team.
I find that those moments of creativity and the sparks of excitement are so fragile.
Like, a jam session to me would be like getting toenails pulled out.
That significantly changed things in my world to a degree.
And it might end up being okay.
Did relying less on fear lead you to something like you and Atticus producing Halsey’s new album?
To my surprise, I really had fun writing material in a format I’d never thought about before.
I found myself excited.
I wanted to get up even earlier to start working on it.
It’s not for a trophy or a paycheck or anything.
ELFMAN:I can’t wait to hear this.
Maybe I f—ed it up a little bit much.
Trying to figure out how to keep learning and moving is the hardest f—ing part of everything.
To do that takes effort.
There’s always bound to be that chance of failure.
Why am I here, man?
It’s not comfortable."
ELFMAN:Oh my God, yeah.
I respect the hell out of you as a filmmaker.
And the film seems like it would be great, but I don’t know how to do it.
I don’t come from that background."
But I hadn’t thought about music that way.
What a gift that’s been, to be able to have another canvas to paint on.
And I’ve just figured out subtraction.
ELFMAN:Thank you.
Is there anything making you laugh or smile?
REZNOR:Difficult question.
Go ahead, Danny.
ELFMAN:I got it.
I know this sounds ridiculous The Great British Baking Show.
It’s as much stress as I could take.
It’s like, “Will the souffle rise?
Oh, will the custard collapse?”
These are the stress moments, and I find myself getting really caught up in it.
REZNOR:I might have to give that a shot.
Now it’s utter resentment towards a segment of the population.
I’m fed up, and I’m angry not at the virus anymore.
I’m pissed off at a virus, but I’m furious at my neighbors.
So I find it uplifting to kind of immerse myself in the struggles of Peppa Pig.
This interview has been edited and condensed for length and clarity.
A version of this interview runs in the October issue ofEntertainment Weekly, on newsstands beginning Sept. 17.
