Amanda Jones composed the score for the forthcoming sci-fi series "Murderbot" with Alexander Skarsgård's performance as her north star. During IndieWire's Craft Roundtables, Jones discussed how she approached the music for the adaptation of Martha Wells' beloved novella series.
Jones revealed that Skarsgård's interpretation of the titular android assassin shaped her compositional choices from the outset. Rather than working from a predetermined sonic blueprint, she tailored themes and instrumental textures to complement the actor's nuanced portrayal of Murderbot's deadpan humor and existential angst. This approach mirrors a classic Hollywood tradition in which composers respond to casting decisions and performance styles rather than imposing preconceived musical ideas onto actors.
The novella series, which won the Hugo Award and captivated science fiction readers worldwide, presents unique challenges for adaptation. Murderbot's narrative voice carries sardonic commentary and philosophical questioning about consciousness and identity. Jones had to find musical equivalents for Wells' distinctive prose style, translating internal monologue into instrumental language that audiences could absorb while watching Skarsgård navigate corporate espionage and rogue AI threats.
Skarsgård, known for his work in prestige television and films like "The Northman," brings a specific cadence and physical vocabulary to character work. Jones clearly studied his performance to understand where music could amplify tension, underscore dark humor, or create breathing room for character moments. This collaborative instinct represents best practices in contemporary television scoring, where composers increasingly work closely with actors and directors during pre-production rather than waiting for locked cuts.
The "Murderbot" adaptation stakes itself on fidelity to Wells' source material while expanding the universe for visual storytelling. Jones' score functions as an essential bridge between the intimate, fragmented narrative voice of the books and the demands of television drama. Her willingness to follow Skarsgård's lead suggests a composer thinking seriously about how music serves character rather than simply accompanies action.