Likes: Reading, Writing, Cooking, Drawing/Sketching, playing games with peopleĭislikes: Being Disturbed, People entering her lab, that she dislikes. Special Item(s): Her Bandages, Scissors, Her Chainsaw
Hobby(ies): singing, reading, writing, taking walks in the lab. Theme songs: Teen idle, Run Devil Run, End of Me, Pity Party, Hide & Seek, Cop圜at - Vocaloid "Shall I Make You Like Me?" as she is taking off her bandages, showing her bloody neck and face. when she gets them into a dead end with her victims. She does this to trick them, into helping her. "I'm Lost, Can you Help me?" - What she tells her victims, when they enter her lab. "Why did you do this to me?" - What she says, when her victims push her over or if they attack her back. Goal/Reason to Kill: Wanting to kill the people who her hurt, but does not remember what they look like, so she kills anyone that steps foot in her lab, thinking they were the Then they would use their scissors to cut their mouths and make scars on their arms, nose just like their cuts. Method of Killing: they swing their chain saw against the persons side, slicing it. Nickname(s): The Chain Saw Girl, The Green Eyed Spirit, The Labs Ghost, The Lost School Girl Meaning to Name: The Name Laboratory Ghost means, a Ghost who lives in a lab. Viola Quinn - Fake Name she gave herself, sense she forgot her real name. Gimple.Real Name: Estelle Harlow Actual Name She was born with, that she forgot This album would not be possible without the endless enthusiasm and support from my producer, and friend, Scott M. I could never have survived the musical apocalypse without the unending support of my friends, family, and my miraculous team at Sparks & Shadows, especially Joe Augustine, who has been working on this record with me for years. I also must thank Gale Anne Hurd, Glen Mazzara, David Alpert, Greg Nicotero, Robert Kirkman, Thomas GolubiĆ, Jerry Ross, all the brilliant directors and editors I get to work with, Dawn Botti and all of my friends at AMC, and Brian McNelis at Lakeshore Records. Special thanks are due to Frank Darabont for bringing me into the family. I would like to thank all of my creative partners on this series, individuals whose artistry inspires me on every episode. Lakeshore Records’ Special Thanks: Lynn Hobensack and Don Smith Mastered by Pat Sullivan at Bernie Grundman Mastering, Los Angeles, CAĮxecutive Album Producers for Lakeshore Records: Skip Williamson and Brian McNelis Studios: The Bridge Recording Studio, Capitol Records, Glenwood Place Recording Studios, Henson Recording Studios Scoring Assistants: Jason Akers, Michael Beach, Omer Ben-Zvi, Jonathan Chau, David Matics, Joanna Pane Scoring Coordinators: Olivia Blissett, Jonathan Ortega, Kaiyun Wong Scoring Managers: Sam Ewing, Jessica Rae Huber Orchestrated by Edward Trybek, Henri Wilkinson
Score Produced by Bear McCreary & Steve Kaplan When Neegan was introduced a few seasons later, he employed “creepy electric guitar gestures.” creditsĪlbum Produced by Joe Augustine & Bear McCreary
As audiences were introduced to new characters like the Governor, McCreary incorporated a synth pulse to his largely organic instrumentation. For the second and third seasons he did so with “acoustic guitars and drums to connect with the farmhouse setting (check out ‘Message to Morgan’).” He blended these with a small orchestra for the gut-crushing mid-season finale (‘Sophia').
#The walking dead theme song viola series
“This approach allowed me to create big emotional impacts with sparse musical gestures.”Īs the series progressed, McCreary was able to expand the musical palette. Those moments when McCreary’s music kicks in, viewers know they are about to be treated to something important. During the zombie apocalypse, silence would be the most prevalent – the lack of sound is what survivors would notice. “When we started discussing the first season we agreed that drama, action, and horror would be felt more intimately if the score were used only in pivotal scenes, and that it should be written with tonal clarity,” McCreary explained of his initial approach to scoring The Walking Dead. The cop left with no choice shoots her, and as she falls, the tremolo string arpeggios of the “Main Title Theme” by McCreary crescendo, drawing millions of viewers into this harrowing world of The Walking Dead. Then she turns around… revealing that all is not quite what it seems. Premiering on Halloween 2010, in 120 countries simultaneously, The Walking Dead became a cultural zeitgeist practically overnight.
He said, “narrowing down the highlights from seven years of work was a tremendous challenge.” For this long-awaited release, McCreary selected both his personal favorites from the first seven seasons, along with those most frequently requested by fans.