From long-haired ghouls emerging out of TV sets to ghosts with grudges, the one thing that’s certain for the decades-long lives of iconic horror franchises is that The Grim Reaper will always get his payback, no matter how hard foolhardy mortals try to escape him. Giving an invisible face to Death as he outsmarts his victims in ghastly Rube-Goldberg cause-and-effect manner is what’s distinguished the Final Destination series. When your inevitable foe is more of a metaphoric idea, an all-important element in materializing an unstoppable force than music. First materialized by Shirley Walker with the torch passed to Brian Tyler, Final Destination’s scoring has been characterized by its relentless suspense and operatic sense of black-humored fate.
Far more melodic and suspensefully minded that the dissonant stabs and shrieks you’d expect in a “horror” score as such, all of the Final Destination soundtracks are united by relentless, cunning rhythm that starts small on its way to the epic grand guignol payoff. But what makes the sixth (and I suspect not the last) entry Bloodlines stand out is how it it trumpets an F for Family as a distraught daughter does her best to save her kin from an existence they never should have had, if only grandma didn’t have a temporary vision atop an ersatz Seattle space needle in a delightfully retro start, complete with a glass floor stomping performance of “Shout!”
Bringing a new emotional level along with the dark musical irony and outrageous symphonic gore that you’d want from a Final Destination score, and then some, is Tim Wynn. Having played an icon taken before his time (James Dean: Forever Young), and a videogame with Marvel’s biggest killing machine The Punisher among numerous console shooters and adventures. He’s accompanied the childing reaping of the Latina legend of La Llorona as well as facing off against evil with the TV bros of Supernatural, Bloodlines marks Wynn’s biggest teaming with co-directors Zach Lipovsky and Adam B. Stein. First meeting on the giant robo kids’ series Mech-X4, Wynn scored their far darker feature Freaks which had a father protecting his daughter in a Sentinel-worthy future that’s distinctly unfriendly to mutants. Yielding a powerful, dark superhero score as such for a movie whose sequel is now in process,Bloodlines is a giant step up for the artistic trio.
Given a very well made and ghoulishly energetic entry to the series that log-timber ties with the second film in my Final Destination rankings, Wynn energetically engineers the comeuppances from unlucky penny small to huge explosions of viscera. Bringing in Walker’s familiar thematic company as one driving force in the score, Wynn is furious in his combination of symphony and rhythm, as well a moving – no more so than in the final, self-aware appearance of Tony Todd’s Karloffian coroner. It’s a tragic overtone that makes Wynn’s score more of the emotional straight man as such without losing the excitement of the ghoulishly energetic suspense that gives a Final Destination score its pulse. Death is indeed good musical company with Tim Wynn, whose scoring rips the life out its clan with surprising heart to spare – along with other flying instruments and organs.
L-R, Zach Lipovsky, Tim Wynn and Adam B. Stein
Tell us about the chain of events that led you to composing for the new Final Destination film.
One morning, I was scrolling through Twitter when I saw that New Line was making another Final Destination movie—and that Zach and Adam were directing it. I was immediately struck, like lightning. Not only is Final Destination one of my favorite horror franchises, but I also knew the directors personally. In my mind, New Line couldn’t have picked better filmmakers. Zach and Adam are incredibly talented, and I had no doubt they’d create something amazing.
I reached out to congratulate them and asked if they were looking for a composer. Luckily, they were. Although we’d worked together on Mech-X4 and Freaks, those weren’t horror projects, so I knew I needed to do more than just pitch ideas—I had to show them what I envisioned. I asked if I could write an original theme for Final Destination, inspired by the legacy of Shirley Walker and Brian Tyler. They said yes, and I dove in. What started as a theme turned into a full creative burst. I ended up writing not just a new theme but five additional cues. As it turned out, that theme captured exactly what Zach, Adam, producer Craig Perry, and New Line’s head of music, Erin Scully, were all looking for.
You began working with Zach and Adam on Mech-X4. Tell us about that initial collaboration. Was it more challenging or easier working with two directors instead of one?
I first met Zach after I was hired by Disney to score Mech-X4. He was brought on as the showrunner and came down to Sonic Fuel to share his vision for the score. He had clear ideas but was also super collaborative, and we hit it off right away. We ended up working together for all three seasons. Adam was one of the directors on the show, but I didn’t actually meet him in person until the wrap party. It wasn’t until we worked on Freaks that I got to experience what it was like to collaborate with them as a directing team. Working with two directors can sometimes be tricky, but with Zach and Adam, it works beautifully. They’re incredibly in sync, and there was only one time I saw them disagree. They’re both sharp, creative thinkers, and in this case, two heads really were better than one.
Your next venture with Zach and Adam was the exceptional sci-fi film Freaks, which plays like a dystopic X-Men story crossed with the father-daughter bond of Firestarter. Tell us about scoring a dark superhero story from a child’s perspective.
It was a delicate balance. It would’ve been easy to go over the top and end up sounding like a Marvel movie. But Zach and Adam gave me a lot of freedom to try things and experiment. We wanted to highlight the magic and wonder Chloe (the lead) experiences and only lean into a more “heroic” tone toward the end. Her theme needed to serve dual purposes—it had to evoke innocence and magic but also support the moment when her powers fully emerge.
Zach and Adam have now made the leap into the Final Destination universe. Was it a given you’d score the film?
Not at all. When I first reached out, they were completely neutral—and rightfully so. At that time, I didn’t necessarily have the right music on my reel for Bloodlines. Also, with a studio film, there are so many producers and creative voices involved it would be important to get a thumbs up from the whole team. I definitely felt that I was the right composer for the film, but I needed to convince everyone else. That’s why, instead of just talking about what I’d do, I decided to prove it to them. As it turned out, it was the main theme I wrote for Final Destination: Bloodlines that was the deciding factor.
Were you a fan of the Final Destination films before scoring Bloodlines? And did you rewatch them once you got the gig?
Absolutely. I’ll never forget seeing the first film—it was such a smart, unique take on horror. It had a strong narrative alongside the scares. Once I started on Bloodlines, I rewatched 1-5 with my eldest daughter who’s also a horror fan. Great stuff.
Shirley Walker displays her “grossometer” for orchestral intensity
What’s your take on the musical lineage from Shirley Walker to Brian Tyler to you?
I think it feels like a very natural progression. Shirley laid the groundwork with themes that were both chilling and wickedly playful. Brian picked up the torch and brought a cool modern edge to the sound. I like to think I fall somewhere in between—I’m very comfortable with both styles. I love movies with strong, memorable themes and that’s what I set out to do on Bloodlines.
Did you feel it was important to establish your own musical identity in Bloodlines?
Definitely. I was fortunate that Zach and Adam responded positively to the theme I sent them—it became the foundation for the score. While there were small adjustments, about 98% of what I wrote in the demo made it into the film. Even though the producers loved my direction for the score they were looking for a way to include the original theme in my score. Zach and Adam found the perfect moment. I use Shirley’s theme when we first see Bludworth. It was a beautiful way to bring her theme into Bloodlines.
Unlike the earlier films, Bloodlines centers on a family rather than a group of loosely connected young adults. How did that affect your thematic approach?
We chose to let the music and the themes tell the story of Iris, the matriarch who first breaks death’s cycle and passes that knowledge to her granddaughter, Stefanie. Stefanie’s theme is more rhythm-driven, with a propulsive energy that reflects her quest to uncover the truth behind death’s plan. The music helped connect the generations emotionally and narratively.]
Do you think the “family tree” aspect of Bloodlines let you play the story more as a mystery?
Absolutely. Stefanie is piecing together clues, and the music reflects that sense of discovery. Tracks like “Connecting the Dots” and “Drive to Iris” really lean into that mystery angle, building tension as she uncovers the family’s link to death.
Like the other Final Destination scores, this plays as a cross between horror and action-suspense. What do you think is the challenge of crossing those stylistic streams?
I was lucky to study under Jerry Goldsmith and Christopher Young, two of the best to have ever done it. Even though the films are very different, I found myself channeling Basic Instinct and Hellraiser as reference points. The key is knowing when to dial up the suspense and when to pull back the horror.\
Given that these films have an invisible “villain,” how did you want to embody death – let alone the idea of fate?
I wanted death to feel like an unstoppable force—relentless and inevitable, like Arnold Schwarzenegger in the Terminator films. The death theme is slow and menacing. When you hear it, danger is near. To represent fate’s wickedness, I used a high violin theme based on the same diminished triad, which you can hear in “Elevator Ride.” My goal was to create a sense of dread that’s always just around the corner.]
There’s always a thread of hope in these films—that maybe death can be cheated. How did you express that musically?
One of the fun things about the franchise is that you’re always rooting for the characters to beat the odds. That sense of hope comes through in tracks like “We Can’t Give In” and “Resurrection.” Their uplifting melodies offer a stark contrast to the darker parts of the score.
What’s the Rube-Goldberg trick to setting up a Final Destination “murder?”
Writers Guy Busick and Lori Evans Taylor did a fantastic job weaving the fates of the characters through a penny. When I read the script, I immediately heard the musical possibilities. The “Death,” “Wickedness,” and “Penny” themes all had to connect and work together, sometimes even in the same scene.
Talk about the Seattle needle opening set piece that’s the linchpin of the deaths to follow – let alone the entire franchise?
Like all Final Destination films, we open with a massive, chaotic set piece. In this case, it’s at the Skyview Tower. The challenge was to musically “set the table” for the rest of the film while also reflecting some early plot twists. And yes, I got to score the moment when the oldest actress in history is set on fire—that’s a career first.
What was your favorite death to score, and why?
It’s hard to choose—it’s like picking a favorite child. But if I had to, I’d go with the hospital scene. It’s genuinely terrifying, and I was able to incorporate sampled sounds from an actual medical device into the score. It made the moment feel eerily authentic.
Tell us about scoring Tony Todd’s final, returning appearance as Bludworth. How do you see his character that’s been around Final Destination since its start?
To me, Bludworth is the calm voice of reason in the chaos. He tells characters what they don’t want to hear, but need to. When I scored his final scene, Tony Todd was in hospice. I knew it would be his last on-screen moment, and I wanted to give him a proper sendoff. His improvised line about cherishing life was deeply moving. To me, it was a reminder to cherish every moment.
As opposed to many inescapable death horror films that take themselves very seriously, the Final Destination films have always had a real sense of ghastly, over-the-top fun that’s played out in their operatic scores. How did you want to acknowledge that black humor here?
I was lucky to study under Elmer Bernstein at USC, and one of his best pieces of advice was: let the story be funny—let the music play it straight. I followed that rule here. The humor lands harder when the score keeps a straight face.
I really loved the end credit sequence that comes out of the classic blues tune “Shout!” and accompanies the rolling “lucky” penny before ending emotionally for Tony’s tribute. Could you talk about scoring it?
Thank you! That was a fun one to put together. “Shout” by The Isley Brothers plays a big role in the film—it’s also one of my favorite songs from the ’50s. The idea of using it in the end credits came late in the process. Zach and Adam had the great idea to start with “Shout” and gradually transition into orchestral elements, leading into my score for the final tribute to Tony.
Do you think your collaboration here with Zach and Adam was different from your other projects?
At its core, it was the same: incredibly collaborative process. The big difference this time was the scale—we had the full support of New Line Cinema and producers Craig Perry and Sheila Taylor. That support only amplified what Zach and Adam do best. I’m really grateful to be part of the team.
Next up for you all is a sequel to Freaks. What can we expect from the story and score?
I can’t say too much yet, but it will continue the story from the first film. With new characters and challenges, expect a few new musical ideas that expand on what we built in Freaks.
In the end, what do you think makes this Final Destination movie and score stand out? And would you be up for scoring more in the series?
Bloodlines introduces unique plot points that open the door for more emotional depth in the score. For example, a track like “Two of Us” wouldn’t fit in the earlier films but feels right at home here. I’d absolutely return. New Line and the producers did an incredible job rebooting the franchise, and I hope they keep it going.
After scoring a Final Destination movie, are you more aware of your surroundings? And are you more careful to make sure that things are where they should be in your studio?
How can you not be? Ever since Final Destination 2, I think most of us are terrified of driving behind logging trucks.
See Final Destination: Bloodlines in theaters, with Tim Wynn’s score available on Lakeshore Records HERE. Visit Tim’s web site HERE
Special thanks to Maddy Myer at Impact24 PR and Kurt Nishimura at Silverlake Media
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