Joker (soundtrack)
| Company type | Soundtrack album |
|---|---|
| Industry | Music |
| Founded | September 27, 2019 |
| Founder | Hildur Guðnadóttir |
| Products | Film score |
| Parent | WaterTower Music |
Joker: Original Motion Picture Soundtrack serves as the official score album for the 2019 motion picture Joker, comprising seventeen compositions crafted by Hildur Guðnadóttir. The digital release was handled by WaterTower Music on September 27, 2019, with a subsequent vinyl version issued on December 13. The soundtrack garnered significant critical praise and earned notable accolades within the industry.
Director Todd Phillips, upon reviewing the screenplay, invited Hildur to develop music inspired by her personal emotional interpretation of the narrative. She devised minimalist, repetitive melodies that mirrored the film’s raw tone and the psychological depth of the lead character, Arthur Fleck. Her compositional focus prioritized sonic texture rather than intricate harmonic progressions, complementing the movie’s somber mood.
The composition received numerous distinguished honors, including the Premio Soundtrack Stars Award at the 76th Venice International Film Festival, along with a Golden Globe Award for Best Original Score, a BAFTA Award for Best Original Music, and an Academy Award for Best Original Score.
Background
In August 2017, Todd Phillips was confirmed as director of Joker under the Warner Bros. banner and selected Hildur Guðnadóttir to compose its musical score after admiring her work on Sicario: Day of the Soldado (2018). Hildur’s role as composer was officially announced early in production, allowing her to begin score development during pre-production with access to script excerpts provided by Phillips ahead of filming. Phillips characterized the film as "a compelling and profound character study" focusing on a complex figure previously unexplored in cinema.
Their creative partnership was notably fluid; Phillips encouraged Hildur to compose driven by her instinctive emotional reaction to the script, resulting in a highly collaborative and harmonious process from the beginning.
Research
Distinct from her earlier projects, Hildur initiated development of Arthur Fleck’s theme during Joker's pre-production phase. Initially engaged by Phillips to submit conceptual ideas rather than a complete score, she was asked if she wished to create music based purely on her feelings about the screenplay: "He didn’t provide explicit directives; rather, he was interested in my personal reaction." In an interview with Deadline Hollywood, Hildur expressed that the script deeply resonated with her, and Phillips acknowledged that her sample effectively encapsulated the film’s atmosphere. She was captivated by Phoenix's portrayal of Arthur as exhibiting "multi-layered simplicity—openhearted yet childlike," which guided her orchestration toward emphasizing texture over harmony to reflect his melancholy. The cello serves as a foundational instrument throughout the score, carrying string melodies that are often supported by an entire symphony orchestra playing subtly beneath it—symbolizing Arthur’s complex inner layers hidden even from himself: "Listeners might perceive a solitary cello line while, like Arthur, there are multiple layers beneath."
Hildur described this score as markedly distinct from her prior works. Composed concurrently with Chernobyl (2019), which featured more conventional instrumentation, she was granted extensive artistic freedom by Phillips to experiment. She focused on connecting intimately with Arthur’s psyche, noting that her main theme preceded Joaquin Phoenix's performance and influenced his portrayal. During filming, she introduced music directly to Phoenix weeks into production to inspire a pivotal scene. Phillips recounted how playing her compositions helped Phoenix discover a newfound grace in Arthur during a demanding sequence. Phoenix himself praised the score’s impact as instrumental in deepening his understanding of the character.
Managing simultaneous work on Chernobyl and Joker proved challenging due to their contrasting tones and structures. Hildur characterized Joker as her most "classical" composition—melodic with recurring thematic elements—reflecting traditional scoring styles aligned with the film’s aesthetic. She consciously avoided referencing previous Joker adaptations or associated musical motifs, which afforded greater creative latitude. Viewing Joker as a fictional persona allowed her to explore thematic and imaginative possibilities: "The process was primarily an emotional and unexpectedly revealing search for this character... This interpretation surprised everyone."
Composition
Phillips’ vision for Joker provided Hildur an opportunity to craft an orchestra-driven score through an unconventional workflow. Her musical creations inspired Phillips to shoot extensive footage tailored to align with the compositions rather than following conventional practice where music is added post-filming, resulting in a tightly integrated audiovisual experience. Upon engaging with the screenplay, Hildur composed a poignant and melancholic requiem embodying Phoenix's Arthur: "I began with the cello to enter his voice and mindset [...] The moment I played those initial notes it struck me deeply... this was exactly right."
While centered on solo cello lines, the soundtrack incorporates support from a one hundred-piece orchestra to evoke a grand symphonic ambiance. The orchestra symbolizes Arthur’s unseen history influencing his present self—initially subtle but intensifying alongside his psychological transformation. Early composition enabled Hildur’s music to shape performances and cinematography alike throughout an eighteen-month creative period.
During filming of a critical scene originally scripted differently, Phillips played Hildur's music on set. Cinematographer Lawrence Sher observed how this shifted the scene from conventional staging to dynamic movement as Phoenix danced energized by the live music presence. Wearing an earpiece transmitting Hildur’s score in real time, Phoenix adapted his performance accordingly. This particular piece was among the first composed and elicited Hildur’s strongest visceral response while closely aligning with Phoenix's interpretation.
Phillips recalled witnessing Phoenix spontaneously dancing alone in a bathroom while crew awaited outside—a moment instantly recognized as pivotal: "That was ‘the scene’." Phoenix attributed his dance inspiration directly to Hildur's cello compositions, marking a defining moment in both character development and collaboration with Phillips. The director envisioned this Joker as someone inherently connected with music, underscoring how essential Hildur’s score was throughout production.
Hildur emphasized how playing music live on set and feeding it through Phoenix’s in-ear monitor influenced his physicality and timing: "It was an inspiring and enjoyable method... collaboratively constructing the film’s musical world."
Recording
Hildur expanded upon sparse monotone themes reflecting Joker's transformation by focusing on texture rather than harmonic complexity to mirror Arthur’s melancholic state. She likened Arthur's transformative dance sequence to discovering his unique tonal identity; notably, Bathroom Dance features electric cello performed on a halldorophone, an innovative feedback instrument she helped develop: "It produces live electronic sounds via its interaction with amplifiers." The orchestration gradually builds around this solitary cello motif—initially representing empathy before being overtaken by an escalating orchestral intensity symbolizing Arthur's descent into madness.
The arrangement developed incrementally around cello lines that initially linger subtly before dominating as Joker emerges onscreen. Recording sessions took place over one week at The DiMenna Center starting with 36 musicians expanding later to 72 players. Percussion begins minimally with a two-note pattern resembling a heartbeat that grows increasingly forceful. Hildur noted that musicians maintained intense focus while performing delicate passages barely audible; she stressed that emotional intensity outweighed technical precision: "There is immense invisible energy invested in these recordings... That is part of music’s magic."
For the film’s climax, she aimed for a sweeping cinematic conclusion for Arthur featuring variations on earlier themes. Despite prominent solo cello moments early in the film, an entire orchestra subtly underpins much of the score throughout. Sound supervisor Alan Robert Murray collaborated closely with director Phillips and editor Jeff Groth integrating Hildur’s compositions alongside sound effects, Foley artistry, ambient recordings, and layered vocal textures to heighten tension.
Release
WaterTower Music issued Joker’s official soundtrack album digitally on September 27, 2019, followed by picture disc and colored vinyl editions released December 13. The purple vinyl reflects Joker's iconic color scheme while the picture disc displays Joaquin Phoenix fully adorned in clown makeup. On release day, composer Hildur Guðnadóttir expressed appreciation via Twitter, acknowledging the collective effort involved in crafting the project.
Track listing
CD version
Songs from Live! With Murray Franklin
All selections performed by Ellis Drane and His Jazz Orchestra.
Film music not included on album
| # | Title | Performer(s)/Writer(s) | Key Scenes/Notes | Reference |
|---|---|---|---|---|
| 1 | "Send In the Clowns" | Frank Sinatra | Sung by Wayne Enterprises executives aboard subway; Sinatra rendition plays during end credits. | |
| 2 | "Everybody Plays the Fool" | "The Main Ingredient" | "Randall lends Arthur his firearm at work." | |
| 3 | "If You're Happy and You Know It" | "Chaim Tenenbaum" | "Arthur entertains children at hospital." | |
| 4 | "Here Comes the King" | "Steve Karmen" | "Broadcasted on TV when Arthur returns home." | |
| 5 | "Slap That Bass" | "Fred Astaire" | "Film Shall We Dance shown on TV during scene where Arthur handles gun." | |
| 6 | "My Name Is Carnival" | "Jackson C. Frank" | "Arthur packs belongings explaining gun belongs to Randall." | |
| 7 | "Rooftop" | "Hildur Guðnadóttir & Jóhann Jóhannsson from Mary Magdalene (2018)" | "Arthur imagines himself before Murray's audience." | |
| 8 | "The Moon Is a Silver Dollar" | "Lawrence Welk and His Orchestra" | "Plays as Arthur walks home after meeting Sophie and while bathing Penny." | |
| 9 | "Temptation Rag" | "Claude Bolling" | "Performed live by street pianist as Arthur spins sign." | |
| 10 | "Smile" | "Jimmy Durante" | "After Arthur’s initial stand-up routine." | |
| 11 | "That's Life" | "Frank Sinatra" | "Plays during scenes of Arthur dyeing hair green and running through Arkham." | |
| 12 | "Rock and Roll Part 2" | "Gary Glitter" | "Heard as Joker dances down stairs en route to late-night debut." | |
| 13 | "Spanish Flea" | "Ray Davies and His Button Down Brass" | "Broadcast interruption during Murray Franklin Show." | |
| 14 | "White Room" | "Cream" | "Plays while Joker is transported by police prior to mob rescue." | |
| 15 | "Murray's Theme" | "Judson Crane & Mark S. Hollingsworth" | "Introduces Murray Franklin live on television." | |
| 16 | "Murray's Late Night" | "Bill O'Connell" | "Theme for Murray Franklin's late-night show." |
An edited cut of "Laughing" by The Guess Who featured in director Todd Phillips’ Instagram teaser marking Joaquin Phoenix's first appearance as Joker.
Personnel credits
Information adapted from CD liner notes.
- All compositions credited to Hildur Guðnadóttir
- Producers: Hildur Guðnadóttir, Sam Slater
- Executive album producer: Todd Phillips
- Warner Bros. Pictures executive overseeing music: Niki Sherrod
- WaterTower Music executive overseeing release: Jason Linn
- Music supervisors: Randall Poster, George Drakoulias
- Additional production contributions: Gunnar Tynes
- Additional arrangements provided by Þórarinn Guðnason
- Executive score producer role filled by Jason Ruder
- Music business affairs executive duties handled by Ray Gonzalez
- Art direction led by Sandeep Sriram
- Soundtrack coordination managed by Linda Christie
- Orchestration completed by Andrew Kinney, Phillip Klein, Carl Rydlund
- Orchestra conducted by Jeff Atmajian
- Score recorded at The DiMenna Center for Classical Music
- Mixing engineer for score: Daniel Kresco
- Assistant engineer duties performed by Jeff Citron
- Studio assistant Nate "NV" Eaton aided by Juan Simon Fernández
- Transcription services provided by Black Ribbon Pro
- Score mixed at Downtown Music facility in New York City
- Berlin-based assistants included Rick Vincent Will and Henrik Havelka
- Recording engineers based in New York City were Alex Vengeur, Tim Machiafava, Neal Shaw, Matt Soares, Brandon Chevere
- Assistant engineers in New York included Neal Shaw, Matt Soares, Brandon Chevere, Carlos Mora, Phil Weinrobe
- Featured instrumentalists
- Halldorophone, vocals, cello & percussion performed by Hildur Guðnadóttir
- Musical sound design/percussion/programming handled by Sam Slater
- Additional sound design/synth programming contributed by Gunnar Tynes
- Further sound design input from Þórarinn Guðnason
- Viola/violin performances by Viktor Orri Árnason & Eyvind Kang
- Cello parts played by Clarice Jenson
- Double bass performed by Yair Elazar Glotman & Miller Wrenn
- Percussion executed by Ólafur Björn Ólafsson
- Polyend programming contributed by Simon Goff & Antonio Pulli
- Woodwind section
- Flute players include Diva Goodfriend, Mindy Kaufman, Kathleen Nester, Tara Helen O'Connor & Tanya Witek
- Clarinetists were Liam Burke, David Gould, Bohdan Hilash, Dean LeBlanc & Pavel Vinnitsky
- Bassoonists featured Gil DeJean, Billy Hestand, Harrison Miller, Damian Primis & Mark Romatz
- Horn players
Barbara Jöstlein et al., including Will de Vos & Javier Gandara among others
- Strings
Violinists such as Peter Bahng et al.; violists including Matthew Beaugé et al.; cellists led by Robert Burkhart et al.; bassists including Gregg August et al.
- Brass section
Bass trombone played by Marco Gomez & Kyle Mendiguchia; trombone section includes Demian Austin et al.; tuba performed by Andy Bove
- Special acknowledgements
Peter Axelrad, Maria Belli & Paul Broucek among others
Charts
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Album
| Chart (2019–2020) | Peak position |
|---|---|
| Belgian Albums (Ultratop Wallonia) | 124 |
| Belgian Albums (Ultratop Flanders) | 125 |
| French Albums (SNEP) | 168 |
| Spanish Albums (PROMUSICAE) | 79 |
| Swiss Albums (Schweizer Hitparade) | 23 |
| UK Independent Albums (OCC) | 45 |
| UK Soundtrack Albums (OCC) | 11 |
| UK Independent Album Breakers (OCC) | 11 |
| US Soundtrack Albums (Billboard) | 19 |
| US Top Independent Albums (Billboard) | 41 |
| US Top Current Albums (Billboard) | 98 |
Singles
2019 || "Bathroom Dance" (Official Charts Company)(Hildur Guðnadóttir) ||1 2019 || "Call Me Joker" (Scala)
(Hildur Guðnadóttir) ||2 2019 || "Penny in the Hospital" (Classic FM (UK))
(Hildur Guðnadóttir) ||1
| Year | Song | Peak position |
|---|
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Reception
Immediate reception
The soundtrack attracted widespread acclaim upon release and emerged as a leading contender for Best Original Score at the 92nd Academy Awards. Warner Bros. mounted an extensive For Your Consideration campaign targeting major awards bodies including both Academy Awards and Golden Globes voters.
Critical reception
Critics broadly praised Joker: Original Motion Picture Soundtrack. Mark Kermode of The Observer lauded Guðnadóttir’s “brilliantly brooding” composition marked by ominous low strings paired with prowling bass undertones. David Rooney from The Hollywood Reporter highlighted its “unsettlingly melancholic mood” which heightened dramatic tension throughout the film. Kyle Smith writing for The National Review called it “spectacular,” while Kayleigh Donaldson of Syfy described it as “beautifully haunting,” offering refreshing contrast from typical comic book movie scores.
Terri White of Empire remarked on its “mournful,” “dark,” and “fractured” cello-driven soundscape; similarly The Economic Times emphasized its soulful powerfulness. Antonio Morales at The Santa Barbara Independent noted how effectively it underscored suspense alongside Arthur Fleck’s psychological decline. Adam Chitwood of Collider regarded it as “one of this year’s finest scores,” capturing haunting beauty intertwined with terror.
John Lewis from The Guardian identified it as an unconventional cello concerto blending growling string textures with dissonant vocalizations. James Morton writing for Impact compared its slow-burning intensity favorably with Jocelyn Pook’s work on Kubrick’s Eyes Wide Shut. Jerilyn Jordan of Metro Times considered it among the film’s most vital elements—integral to Joaquin Phoenix’s performance.
Michael Lee at Film Ireland praised its menacing qualities fueling Arthur’s internal chaos; Kelly Vance of The East Bay Express called it “hypnotically evocative.” James Verniere from The Boston Herald credited Guðnadóttir’s plaintive melodies as central to elevating the film’s emotional impact. André Hereford writing for Metro Weekly observed its strings-heavy approach finely tuned to individual characters including Gotham’s Thomas Wayne mini-theme.
Chuck Koplinski of Illinois Times applauded director Phillips’ use of Guðnadóttir's “thunderous” score which amplified key narrative moments enhancing audience engagement throughout.
Accolades