Wednesday score – Chris Bacon says Tim Burton urged him to keep Wednesday’s music serious and grounded, as Season 2 expands and Season 3 starts production in Ireland.
A single piece of advice from Tim Burton helped define the sound of Wednesday. and it starts with a simple directive: don’t make it “funny.” The show’s composer. Chris Bacon. described how Burton—an Oscar-nominated director and executive producer—set the musical tone early in the process. urging him to avoid playful scoring and instead lean into seriousness.
Bacon explained that Burton’s guidance was rooted in contrast.. While Wednesday is undeniably a comedic show in moments. the approach was to keep the music heavy. darker. and more serious so the comedy could land through the show’s macabre fantasy world.. He framed it as a way to match the performance style of Jenna Ortega. saying that the humor becomes sharper when the framing feels grounded in something grim.
That philosophy lines up with what Season 2 asks of Wednesday herself.. The season is packed with high-stakes encounters. including her clash with a corrupt principal played by Steve Buscemi in the role of Principal Dort. and her struggles with her monstrous boyfriend.. The arc also includes a startling beat: Wednesday dies and then rises again. turning her character’s survival into an even more central emotional and narrative engine.
For Bacon, Season 2 wasn’t just about adding plot.. It was also about developing a consistent musical language—one that preserved the quirky edge from Season 1 without letting it tip into a style that would feel too exaggerated or untethered.. He described the season as a chance to refine what he called a sound that could plausibly exist in the show’s world. instead of feeling like it belonged to any era outside it.
Even with its modern setting, Wednesday isn’t built like a straightforward period piece, and Bacon underlined that distinction.. He described the series as contemporary while also noting that the Addams Family doesn’t exist within time. a creative stance that influences how the score can feel both recognizable and timeless.
Meanwhile. the season also gives the audience moments that broaden the show’s thematic reach. including a scene involving a “monster mom” finding her “monster son.” Bacon said this created an opening to go further into what he described as being unabashedly thematic—leaning into the show’s identity rather than holding back.
Part of that thematic expansion shows up in the score’s cinematic sweep.. Bacon pointed to the use of sweeping. musical choices such as French horns during a moment when Enid (Emma Myers) turns into a werewolf to help Wednesday.. The intention. as he framed it. was to make those transformations feel tied to the show’s emotional rhythm rather than treated like a standalone spectacle.
Still, even as the music evolves, there’s a deliberate effort to keep the show anchored to its roots.. Bacon emphasized the importance of the harpsichord, describing it as part of the Addams Family’s sound.. He connected it to the original theme from the 1964 TV series. and he also addressed how the instrument helps maintain continuity—using it as a sonic reminder that the program’s world is present. even as the story moves into new directions.
Wednesday composer Chris Bacon Tim Burton advice Wednesday soundtrack Season 2 score Season 3 production Ireland