It: Welcome to Derry composer talks about making music for the eerie town from Stephen King's novel 

IT: Welcome to Derry takes viewers back to the haunting world of Stephen King’s unnerving tale. The eerie tale of Pennywise becomes even more chilling because of the show’s music. Benjamin Wallfisch, a frequent collaborator of Andy Muschietti, shapes the ambience of the show with his masterful scores.

From the first notes of IT: Welcome to Derry, his score sets a mood that is quiet, uneasy, and nostalgic. It is important to understand Wallfisch’s vision of Derry to unpack his musical mastery: He treats Derry as something alive. In a recent interview with Forbes, he said:

“Derry is a character in and of itself.”

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Wallfisch on making music for IT: Welcome to Derry

That idea was central to the show’s music. The series works as a prequel to Muschietti’s IT films. It takes place in 1962, a time marked by Cold War fear and rising paranoia. The atmosphere is perfect for a malevolent threat like Pennywise to grow, and the music perfectly captures this looming, eerie vibe.

For both Wallfisch and Muschietti, returning to Derry meant a special re-connecting with their creative roots that began with IT: Chapter One. Wallfisch remembers the instant connection. He said:

“We were just brothers immediately.”

He added:

“Andy’s so musical… His instincts are bold and unique.”

Their bond has lasted through four big projects. Benjamin Wallfisch had long wanted to score a story that continued for a lengthy period of time. The world of Derry gave him that rare chance. IT: Welcome to Derry's plot was also expansive and thrilling, giving him enough scope to realise his dream. He said:

“We scored each episode as if they were movies.”

The result feels cinematic but still intimate, giving off an organic feeling to the listeners and viewers.

The story of IT: Welcome to Derry follows a group of young outsiders, echoing the Losers Club. Lilly Bainbridge leads the group. Wallfisch wanted to truthfully capture their feelings, emotions, and fears through the music. He aimed for “a slight sense of yearning and whimsy… the yearning of young people finding their identity.” He stressed that emotion drives the series:

“Our emotional connection to the characters… that’s taken to a whole other level.”

But the music couldn’t simply echo what is already showcased in the show. He also maintained that this is the beginning of the myth, not the end. He said:

“We’re not finishing a saga, we’re setting it up.”

Benjamin Wallfisch further added:

“It’s that act of subtraction… The score needed to still be forming its identity.”

He describes the sound as a “cousin” to the films, hinting at how it was an integral part of the universe yet not a mere copy of the theme. Some characters received individual motifs: Lilly has a theme of her own, as does young Dick Halloran, played by Chris Chalk. His “Shine” comes through an “incredibly strange, otherworldly vocal.” His story, which captures him using his abilities under military oversight, adds new layers to King’s already high-stakes universe.

As the plot moves toward well-known tragedies from King’s lore, Wallfisch saw the music as a slow build. He said:

“Small pieces building something rich.”

Planting early hints gave him room to expand later. For fans, Welcome to Derry promises a deeper look at what makes the town so haunting. And thanks to Wallfisch, you can feel the presence of Derry long before Pennywise shows himself.

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Also Read: It: Welcome to Derry showrunner teases Bill Skarsgård “doing things you've not seen him do” in upcoming episodes