Since 2011, Trent Reznor and Atticus Ross have built an impressive career composing for film and television, beginning with their Oscar-winning, haunting music for David Fincher’s drama “The Social Network”.
Their extensive catalog demonstrates remarkable versatility, from the vibrant electronic beats of Luca Guadagnino’s 2024 tennis drama “Challengers” and the suspenseful tones of Guadagnino’s current melodrama “After the Hunt,” to their Oscar-winning, jazz-infused compositions for Pixar’s 2020 animated hit “Soul.” Now, for the first time under their iconic band name, Nine Inch Nails (founded by Reznor in 1988, with Ross joining in 2016) delivers the soundtrack for Disney’s visually stunning “Tron: Ares.”
Reznor shared in a recent video call that this branding decision profoundly shaped the project. “It really had a significant impact on what ended up happening,” he noted, suggesting a unique creative outcome under the band’s moniker. “It yielded something that wouldn’t have happened if it were called Trent and Atticus.”
The “Tron: Ares” soundtrack by Nine Inch Nails is a masterful blend of eerie melodies and distorted synthetic sounds, perfectly capturing the film’s themes of artificial intelligence – its promise and its peril. Embracing a retro-futuristic vibe, Reznor and Ross craft a soundscape that feels both cutting-edge and deeply rooted in the legacy of electronic pioneers like Tangerine Dream, Giorgio Moroder, and Wendy Carlos, who famously scored the original 1982 “Tron.”
Image: A black and white photo of a man wearing a large black hoodie standing in front of a mirror. He looks off to his side; his reflection in the mirror is slightly blurred. Caption: “It yielded something that wouldn’t have happened if it were called Trent and Atticus,” Trent Reznor said of the “Tron: Ares” soundtrack being credited to Nine Inch Nails.
Despite their usual collaborative intensity in their secluded Los Angeles studio, Reznor and Ross conducted this interview from separate locations, enjoying a rare break before the final shows of Nine Inch Nails’ successful Peel It Back Tour. Known for their intense and often introverted demeanor – “We’re insular people who don’t want to hang out with other people, normally,” Reznor quipped – the conversation offered a glimpse of their lighter side, with Ross revealing a framed, signed photo of David Hasselhoff in his office. (“I like to keep treasured things around me,” he chuckled.)
The Peel It Back tour features stunning visuals and thrilling reimaginations of classic Nine Inch Nails tracks, enhanced by producer Boys Noize, including a pulsating club remix of “Closer.” Ross described the experience: “It’s a rock show, but it feels like it’s constructed in a new kind of way. I’m not saying that arrogantly, but that’s just how I feel about it.”
A planned Los Angeles festival for early November, “Future Ruins,” intended to celebrate film music, was postponed “to re-think and re-evaluate,” as announced by organizers recently.
Both the new score and the ongoing tour (set to continue next year) signify a vibrant renewal for the band Reznor has led for almost forty years. He admitted, “Nine Inch Nails was stagnant for a while because it didn’t particularly feel that interesting to me. It didn’t feel creatively stagnant in terms of what had to be said, but the container it was in felt a little tedious.” This sentiment has now dramatically shifted, with Reznor proclaiming that being in Nine Inch Nails “feels vital and exciting again.”
Reznor further explained, “Composing and being able to be on those weird assignments has really invigorated us, I think, as artists and people.”
The following are edited excerpts from their conversation.
What was the first film score that left a lasting impression on you?
TRENT REZNOR: “Halloween” was released when I was probably too young, but it terrified everyone. John Carpenter’s score profoundly influenced my musical path, particularly its use of synthesizers, tension, and unsettling dissonance.
Image: A black and white photo of a man looking down somberly. He’s wearing black clothes and a silver chain. Caption: “In the days of VHS and being a teenager, films like ‘Midnight Express’ or ‘Blade Runner,’ I was definitely conscious I was being transported to a different world and that music was part of that language,” Atticus Ross said.
ATTICUS ROSS: My experience was similar. My dad took me to “Jaws” when I was too young, and the terror of it stayed with me. Film music quickly became more than just a background element for me. During my teenage years, watching VHS tapes of movies like “Midnight Express” or “Blade Runner,” I distinctly felt the music transporting me to different worlds, recognizing it as an integral part of their narrative language.
What was it like to go from no film scoring experience to winning an Oscar for “The Social Network”?
REZNOR: I think I can speak for both of us when I say we’re generally uncomfortable with self-congratulation or fully accepting praise for our work. It’s just how we’re wired.
ROSS: We were deeply creatively invested in the film, but completely clueless about the film industry and awards circuits. It felt like a six-week acid trip, a rollercoaster of extreme highs and lows. We were constantly asking, “Now we’re going to a lunch with so-and-so, then a tea, but do I need a suit for that?”
REZNOR: The incredible part of “The Social Network” was collaborating with David Fincher, who is not only one of the smartest people I’ve met but also incredibly supportive. We were initially concerned about ruining his film because of our inexperience, but Fincher taught us to trust our instincts and embrace them.
Winning the biggest award felt completely surreal and amazing. But it also taught us a profound lesson: you wake up the next day the same person, just with a trophy. The same spiritual void remains. It didn’t fix anything, though it certainly felt good for a moment.
This isn’t to diminish the achievement, but it provided a larger perspective. It led us to our current understanding: Why are we doing this? What’s the real goal? It’s not about acquiring more trophies. It’s about the invaluable experience of collaborating with fascinating individuals and the continuous learning that comes with it. That process, and the drive to create our best work, is what truly fulfills us.
What elements of your “Tron: Ares” score make it distinctly Nine Inch Nails?
REZNOR: Our connection with Tom MacDougall, president of Disney Music, began during our work on Pixar’s “Soul.” A few years back, he approached us about scoring a new Tron film, which we enthusiastically agreed to. He then posed an intriguing question: “Would it make sense to credit this as Nine Inch Nails, rather than Trent and Atticus?” I asked him why he thought so, and he explained, “I’m suggesting it because we want to infuse the film with a distinct personality and take musical risks that might lead us to a unique sound.”
As we delved into the project, it became clear that this creative decision directly influenced our sound choices and even allowed for the inclusion of vocal tracks.
Without disrespecting Prince, I never wanted to create something akin to “Music Inspired by Batman” — disconnected from the film’s core. The score needed to embody the very DNA of the narrative. Our role is to enhance the storytelling through music, and crediting it as Nine Inch Nails provided the freedom to incorporate actual songs, something that wouldn’t have been possible under the “Trent and Atticus” banner.
ROSS: Throughout our European tour, every spare moment off stage was spent in a makeshift studio, usually a hotel room, tirelessly working to complete the “Tron” score.
REZNOR: It’s a lesson we seemingly can’t learn. We’d plan: ‘Tron’ will be finished in February, so we’ll start touring in May. Then, inevitably, ‘Tron’ isn’t finished until July. You’d think we’d know better by now, but we don’t.
How has composing scores influenced your movie-watching habits? Can you still fully immerse yourselves, or are you constantly analyzing the soundtrack?
REZNOR: Off tour, I try to visit a cinema every other week. It’s a way to escape my own thoughts for a few hours, to get completely absorbed in a story where a buzzing phone makes me feel guilty. When I’m truly lost in a film, the score fades into the background. I only notice it if it’s jarringly bad – pulling me out of the narrative – or, more rarely, if it’s exceptionally good. That’s usually followed by a touch of professional jealousy! ’28 Years Later’ had an excellent score that last captivated me this way.
Have any other recent film or TV scores had that kind of impact on you?
REZNOR: Cristobal Tapia de Veer’s work on “White Lotus” was truly remarkable. Its playful, mischievous, and absurd qualities significantly contributed to the show’s effectiveness and widespread appeal.
ROSS: “White Lotus” is a perfect example. From the opening titles, I’m completely hooked.