▁or ▁place " ▁for ▁the ▁more ▁emot ional ▁mot ifs . ▁ ▁The ▁more ▁ag gress ive ▁ch ase ▁music ▁was ▁then ▁built ▁on ▁top ▁of ▁that ▁ground work ▁with ▁each ▁of ▁the ▁five ▁film ▁story lines ▁having ▁its ▁own ▁them atic ▁basis . ▁The ▁sound ▁of ▁" a ▁dent ist ▁sc rap ing ▁on ▁a ▁to oth " ▁was ▁sample d ▁to ▁create ▁the ▁prop uls ive ▁rh ythm ▁of ▁some ▁scenes . ▁For ▁the ▁minutes ▁before ▁the ▁bomb ing , ▁however , ▁they ▁decided ▁to ▁not ▁employ ▁direct ▁t ension ▁but ▁have ▁Re zn or ▁play ▁the ▁piano ▁in ▁a ▁way ▁that ▁creates ▁" a ▁sense ▁of ▁dread ▁that ’ s ▁building ▁up ". ▁ ▁Re zn or ▁noted ▁that ▁unlike ▁their ▁previous ▁experience ▁of ▁working ▁on ▁David ▁Fin cher ' s ▁films ▁who ▁had ▁their ▁scores ▁" more ▁subt ly ▁w oven ▁into ▁the ▁DNA ▁of ▁the ▁picture ", ▁Berg ▁kept ▁demand ing ▁" more ▁music " ▁from ▁them ▁in ▁order ▁to ▁have ▁a ▁way ▁to ▁bridge ▁film ▁scenes . ▁Ross ▁wanted ▁to ▁avoid ▁scoring ▁the ▁bomb ing ▁with ▁" th und ering ▁drums " ▁like ▁the ▁ones ▁heard ▁in ▁similar ▁films ▁of ▁the ▁genre . ▁They ▁also ▁wanted ▁to ▁not ▁" p un ish ▁people ▁too ▁much " ▁considering ▁the ▁subject ▁matter ▁and ▁instead ▁wanted ▁to ▁reflect ▁" heart f elt ▁sin cer ity ▁and ▁human ity ." ▁ ▁Most ▁of ▁the ▁picture ▁was ▁already ▁fil med ▁when ▁the ▁two ▁signed ▁on ▁to ▁do ▁the ▁score . ▁However ,