“We agreed that the music for MIDWAY should not be a traditional wall-to-wall orchestral score, with sweeping action cues where every change in mood and sentiment would be followed musically. We also set ourselves the goal that the orchestral pieces should be limited to the emotional moments of the film.

Early on we asked our long-time collaborator Tommy Schobel to create some sort of musically driven sound-design, using synth-based versions of sounds old war planes would make, but in a way so they make sense within the bigger picture of the score. When you hear these cues in the film, married with all the sound effects, it all becomes – quoting our re-recording mixer Greg P. Russel – ‘A Thing.’”