Volker Bertelmann’s Score Elevates Tension in ‘A House of Dynamite’

Kathryn Bigelow’s latest film, A House of Dynamite, captivates audiences with a gripping narrative centered on an imminent nuclear threat to the United States. The film’s tension is significantly enhanced by a collaborative effort among key artisans, notably composer Volker Bertelmann, editor Kirk Baxter, and sound designer Paul Ottosson. Currently streaming on Netflix, the film unfolds in three chapters, each offering a unique perspective on the escalating crisis.

The story opens in the White House Crisis Room, where Captain Olivia Walker, portrayed by Rebecca Ferguson, teams up with Major Daniel Gonzalez, played by Anthony Ramos, and his military team stationed in Alaska. Faced with a missile that will reach its target in just twenty minutes, their urgency becomes palpable. Ottosson noted that reading the script elicited a sense of anxiety, which he anticipated would translate to the screen. “As I was reading it, I was really tense,” he remarked, reflecting on the film’s distinctive structure.

Bertelmann recognized the importance of a meticulously crafted score, emphasizing that each chapter required a nuanced musical approach. “You need to have some things in your pocket to make the tension higher,” he explained. The initial scenes introduce the film’s sonic palette, immediately signaling to audiences that they are in a thriller. The composer faced challenges in perfecting the score for these moments, initially struggling to balance the sound before progressing into the second chapter.

Baxter utilized the score to gauge the emotional intensity of his edits. He described how Bertelmann’s music peaks at the end of Chapter One, resetting expectations for viewers. “You get these clues that come in with little bits of audio,” he said, aiming to sustain audience anticipation about the unfolding events. The tension does not dissipate; rather, it escalates, keeping viewers on edge as the narrative shifts and pivots.

Each chapter presents a different emotional landscape. In Chapters One and Two, the characters exhibit confidence as they navigate the crisis. However, as Ottosson pointed out, chaos soon ensues, reflecting the unpredictable nature of the situation. The second chapter revisits the beginning of the day, expanding the narrative to include various departments involved in the crisis response. By the time audiences reach the third chapter, the perspective shifts back to the Oval Office, revealing Idris Elba in a pivotal role, previously only hinted at through audio.

Baxter explained that the decision to withhold Elba’s character from earlier chapters was intentional. “I leaned into the black square by giving it a bunch of screen time,” he stated. The silence during critical moments creates anticipation, allowing viewers to yearn for answers that only the President can provide. “It builds the anticipation of wanting to meet him and get answers,” he added.

The final chapter delves into the President’s emotional turmoil as he grapples with the weight of his decisions. Baxter noted that the character’s struggles are compounded by personal issues, adding depth to the narrative. An unexpected moment arises during a phone call with Russian officials, which was not originally scripted to occur during the scene. This decision to include the conversation amplifies the tension, underscoring the President’s internal conflict.

Ottosson also relied on military advisor Dan Karbler, who provided crucial insights into the authenticity of the portrayed scenarios. “It was about staying true to what could happen in these rooms and situations,” Ottosson explained. The collaboration ensured that the sound design accurately reflected the weight of the characters’ experiences, moving beyond mere aesthetics.

As A House of Dynamite continues to resonate with viewers, the artistry behind the film serves as a powerful reminder of how music, sound, and editing can converge to create an immersive cinematic experience. The film not only showcases the talents of its creators but also engages audiences in a narrative that remains relevant in today’s world.