HEART EYES Composer Jay Wadley Discusses His Score For The Slasher Rom-Com Movie

By Michelle McCue | February 12, 2025

For the past several years, the “Heart Eyes Killer” has wreaked havoc on Valentine’s Day by stalking and murdering romantic couples. This Valentine’s Day, no couple is safe…

Hitting theaters this February is the Valentine’s Day horror-comedy HEART EYES from director Josh Ruben.

Screen Gems and Spyglass Media Group present a Divide/Conquer production, Heart Eyes. Starring Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, with Devon Sawa and Jordana Brewster. Produced by Christopher Landon, Greg Gilreath, and Adam Hendricks. Written by Phillip Murphy and Christopher Landon & Michael Kennedy. 

The director of photography is Stephen Murphy, BSC, ISC. The production designer is Rob Bavin. The film is edited by Brett W. Bachman, ACE. The costume designer is Jaindra Watson. Casting by Mary Vernieu, CSA, and Bret Howe, CSA.

They say that whether you’re trying to make an audience care about whether a couple gets together or survives a slasher comes down to the same thing: get them invested in the characters. “We didn’t want to wink at it—’scream cute,’” says Ruben. “We wanted to play terror for real—to be vulnerable and root for these characters.”

Heart Eyes centers on a mysterious serial killer whose mission is to take out couples—the more obnoxiously in love, the better. “Heart Eyes is a brutal and nasty killer, a cunning slasher,” says Ruben. “The killer can’t stand couples. What’s Heart Eyes’s MO? Repulsed by couples? Hates PDA? An anti-Valentine’s Day vigilante? 

All of this effectively comes through the screen with a pulse racing score by Jay Wadley. In her review, WAMG’s Cate Marquis says, “Director Ruben also adds a little fun with the music choices, one of the best parts of the movie, along with the fine horror effects.”

Wadley’s various tracks give audiences a fun return to the horror movies we all love – SCREAM, NIGHTMARE ON ELM STREET, FRIDAY THE 13TH – with his musical jump scare cues.

In a recent interview with Wadley prior to the opening of the film, the composer and I discussed how he crafted a genre-defying score for the movie by blending lush rom-com melodies, spine-tingling horror motifs, and comedic beats, the score reflects the film’s unique tone.

When asked about his inspirations for composing this musical character of HEART EYES, he said he drew from the music of Bernard Herrmann, Christopher Young, and Krzysztof Penderecki. Jay created a musical palette that weaves classic romance, modern horror, and experimental textures into an unforgettable auditory experience.

At the heart of the score lies a haunting three-note motif for the Heart Eyes Killer, a flexible theme that shifts from eerie harp whispers to bombastic brass climaxes, evolving with the character’s menace. The score also features a tender love theme for the protagonists, Ali and Jay, that struggles to find space amidst the chaos—mirroring their romantic journey.

From suspenseful aleatoric string textures to lush orchestral swells, the music keeps audiences on edge while delivering moments of beauty and emotional release. Highlights include the climactic drive-in theater scene, where the love theme finally flourishes in its full glory, and the film’s action-packed finale, intricately scored to amplify its thrills.

Wadley’s past work includes the psychological thriller I’m Thinking of Ending Things (Netflix), the historical drama series Franklin (Apple TV+), and the Sundance NEXT Award-winning I Carry You with Me (Sony Pictures Classics). His upcoming score is for the film THE WEDDING BANQUET.

WAMG: To start, what was the initial inspiration behind your musical score for Heart Eyes? Did the director, Josh Ruben, provide any specific guidance? How did you balance the slasher movie elements with the romantic comedy tropes?

Jay Wadley: The initial inspiration for the score came from the juxtaposition of two genres that, on the surface, seem completely at odds: slasher and rom-com. Josh Ruben, the director, was incredibly clear about wanting to merge these two tones in a way that felt organic. He pushed me to explore both the humor and the suspense in the story, and to treat both with the same level of sincerity. So, in a way, the score needed to reflect the contrast between something playful and light-hearted, with moments of tension and even dread. It was about creating an atmosphere where you can laugh one minute and feel uneasy the next, which is what makes the film so fun and surprising.

WAMG: That’s a fascinating challenge! How would you describe the overall sound and style of the score? Was it more orchestral, electronic, or something else?

Jay Wadley: The score is definitely a mix of both orchestral and electronic elements. I used lush string arrangements and piano for the rom-com portions—those moments needed warmth and intimacy. But for the slasher side, I incorporated synths and a lot of distorted, unsettling sounds. The use of electronics allowed me to evoke a sense of unease, but still in a way that felt fresh and modern. There’s a lot of tension in the score, but it’s layered with moments of sweetness that reflect the romantic angle of the film. The balance between the two was key.

WAMG: That balance must’ve been tricky to get right. What were some of the biggest challenges you faced while composing the music for this film?

Jay Wadley: The project came together pretty quickly, and we had to be efficient. Beyond that, the challenge was capturing the nuances of the characters and story through music. I had to be very conscious of how the score would highlight the shifting moods—from light-hearted rom-com moments to the darker, more intense slasher scenes. Also, working with Josh and the team to ensure the music complemented the pacing of the story without overshadowing the humor or tension was a delicate balancing act.

WAMG: What was the most rewarding aspect of working on Heart Eyes?

Jay Wadley: Honestly, the most rewarding aspect was seeing the whole thing come together on screen. It’s one thing to create music in a vacuum, but seeing how the score fit with the visuals and the performances was incredibly gratifying. Josh really allowed me to take creative risks, and the film as a whole feels like a true collaboration. It’s a fun ride, and the music feels like it plays a big part in making that happen.

WAMG: Did you use any unique instruments or recording techniques in the score for Heart Eyes?

Jay Wadley: Yes! For some of the more intense, slasher-driven moments, I used unconventional sounds—like prepared piano (where you place objects on the strings) and bowed cymbals. These techniques create eerie textures that added a lot of tension. For the romantic scenes, I stuck to more traditional instrumentation, but with added layers of synths that gave the score a bit of a contemporary edge.

WAMG: That’s really interesting. How did you integrate the music with the film’s visual and narrative elements? Did you use leitmotifs or thematic development?

Jay Wadley: Absolutely. I used motifs for both the romantic and horror elements. The romantic theme is light and playful, often appearing as a melody played on the piano or strings. For the horror, I developed a more jagged, dissonant motif that would emerge at key moments. By weaving these themes in and out, I was able to underscore the shifts in tone without being too overt. The integration was really about setting the emotional foundation for each scene, so the audience could feel the tension before it even fully manifested on screen.

WAMG: Did you compose digitally, with a live orchestra, or a combination of both?

Jay Wadley: I composed most of the score digitally, using a mix of sampled instruments and synths. However, for some of the more intimate moments, I recorded with live musicians, particularly for the string sections. There’s something special about having live instruments that can’t quite be replicated digitally – especially for the romantic moments, where I wanted to capture a sense of warmth and humanity.

WAMG: How did the film’s story and characters influence your creative process?

Jay Wadley: The film’s story had a huge impact on the music. The characters are quirky and endearing, so I wanted the score to reflect that playfulness, but also the fact that they are in a very dangerous situation. I tried to keep the characters at the forefront of the music, capturing their vulnerabilities and moments of triumph. The music had to reflect their emotional arcs while still supporting the genre-defying nature of the film.

WAMG: Did you personally connect with any of the characters or themes in the film?

Jay Wadley: I think I connected with the themes of love and fear—those two emotions often run parallel in life, and they’re both explored in Heart Eyes. The characters are navigating relationships, but they’re also dealing with this intense, life-threatening situation. It was easy to relate to that kind of emotional rollercoaster, and I think that’s why the score feels so authentic.

WAMG: What was it like collaborating with Josh Ruben and the rest of the filmmaking team?

Jay Wadley: It was fantastic. Josh is a visionary. He had such a clear idea of what he wanted, but he was also very open to ideas and experimentation. The collaboration felt very organic—there was a lot of trust between us, which made it easier for me to push creative boundaries. The whole team was incredibly supportive and passionate, which made the experience so rewarding.

WAMG: How has working on this project impacted your own musical style and approach?

Jay Wadley: It’s definitely expanded my approach to genre blending. The challenge of weaving together two very different tones—comedic and horrific—has made me more comfortable with taking risks and pushing boundaries. I feel like I’m more confident in my ability to shift between moods and create something that feels cohesive, even when the ingredients are wildly different.

WAMG: What do you hope audiences will take away from the music in Heart Eyes?

Jay Wadley: I hope the audience leaves with a sense of excitement and surprise. The music reflects the unexpected nature of the film itself – romance and danger can coexist in a way that’s both funny and unsettling. I want people to remember the emotional highs and lows of the music, and hopefully, it will make them reflect on how these different feelings – love, fear, joy – are all connected in our lives.

WAMG: Thank you so much for sharing your insights with me, Jay! It’s been a pleasure hearing about your creative process.

Jay Wadley: Thank you! It was great to talk about the project. I hope everyone enjoys the film and the music as much as we enjoyed making it.