Trent Reznor & Atticus Ross: Movie Music Marvels

Pablo Gonzalez  

Music Journalist  

Although many know Trent Reznor from Nine Inch Nails, it would be a crime not to mention his work on several film scores. The first score he made, along with Atticus Ross, was for David Fincher’s The Social Network (2010). However, the first time I heard Reznor in a film score was David Lynch’s Lost Highway (1997). It is a movie whose score is vastly more known than the film it came from. 

It’s an amazing score with bands and artists like The Smashing Pumpkins, Rammstein, and Marilyn Manson; however, the film deserves the same, if not more, attention its soundtrack gets. It is a beautifully terrifying film and puts you under a certain spell while watching it; Lynch never misses! Both directors would continue to work with Reznor. 

Reznor and Ross scored several Fincher films, including Gone Girl (2014) and The Killer (2023). They also appeared on Twin Peaks: The Return (2017), performing at the Roadhouse as “The” Nine Inch Nails. Both directors also directed some Nine Inch Nails music videos; I cannot recommend Lynch’s video for “Came Back Haunted” enough, it is a crazy trip! 

There is one recent collaboration that I want to put a heavy amount of focus on. Reznor and Ross’ work with Luca Guadagnino. Bones and All (2022) provided Reznor with the perfect use of his skills and sound. The film is about a cannibal love story; Reznor was able to make a mesmerizing yet haunting soundtrack, a perfect fit for the film. The Challengers (2024) soundtrack was out of left field from most of Reznor’s work. It is an amazing, hypnotic techno score that pumps your blood and makes you want to commit your life to tennis. The movie would not be the same without the score; it just would not be as effective without Reznor and Ross’ music. 

Yet, there is one film and soundtrack that has stayed with me ever since I first saw it: Guadagnino’s Queer (2024). I am a massive fan of the original novella and William S. Burroughs, so when I heard one of my favorite contemporary directors was filming an adaptation, I was beyond ecstatic. It exceeded my expectations; it is a beautiful, heartbreaking film, and I cannot recommend it enough. 

However, I want to shift the focus to the gorgeous soundtrack. The entire score carries an enchanting, sinister tone that ties in with the film’s themes on the difficulties of falling in love with someone who does not feel the same. The perfect song to highlight this is the first track, “Vaster Than Empires.” A bewitching track that sends shivers down your spine. It is difficult to believe that the same person who made tracks like “Closer” could make such a fragile song. Reznor’s talent in music makes him a master at any genre he tackles, it shows with scores like these. 

I also want to commend Reznor and Ross’ song choices for the film. I have heard several criticisms about the inclusion of Nirvana songs, but I want to argue for their case. Reznor and Ross wanted to highlight the relationship between Burroughs and Kurt Cobain, so they included tracks such as “Come As You Are,” “Marigold,” and Sinéad O’Connor’s cover of “All Apologies.” 

I agree that those unaware of Burroughs might find the inclusion of rock songs off-putting, but they serve a purpose and do not get in the way of the film’s narrative. Reznor and Ross’ film scores deserve twice the amount of attention they get, their work is a beautiful contribution to the art of music.