My first film with David Ayer, who I first met during the shooting of the central tiger tank battle sequence in the film. Within seconds of meeting, it was clear he was passionate about making a war movie where you felt the exhaustion and trauma of the war experience, and my music ended up incorporating percussion derived from the sounds of the tanks and weapons themselves, combined with ghostly chanting of the German translation of the bible. The whole score was intended to feel like it was moving inexorably through the mud, with moments of beauty somehow creeping soulfully through. The main theme of the movie, represented by the tracks Norman and Emma on the soundtrack release, was one of the first pieces I sent to David in the cutting room. I got an email back saying “this is the sound of my movie”. Which was a relief. The end of the movie is pretty much that first demo, albeit performed brilliantly by the Philharmonia Orchestra.