At the time, the director spoke of his love for early John Carpenter music, particularly the aggressive, electronically driven scores for “Assault on Precinct 13” and “The Fog.” He described the ideal soundscape for his adaptation as resembling “early Carpenter, but for the 21st Century. But Anderson opted to go in an entirely different direction for his film. Anderson launched the “Resident Evil” film franchise back in 2002, the property already had a well-defined musical lineage with its namesake video games, thanks to the work of composer Masami Ueda in particular. Yet musically, the series has hit a number of surprising notes: even as the franchise stays true to its dark and moody aesthetic, its composers have found plenty of room to stretch.
Unusually for a series of genre films based on a video game, The “Resident Evil” franchise has retained a consistent look, tone, primary star, and central creative figurehead over the course of six films.
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