Jóhannsson eventually visited Mexico (where the film was shot) to delve deeper into the visual representation of the script and analyze its musical sensibilities.

Both Jóhannsson and Villeneuve discussed about the sonic palette they intended to derive with the latter's strong sense and demands to what he wanted and gave him freedom in terms of how to implement that.

As both Jóhannsson and Villeneuve shared a good rapport in the past, the latter responded to several ideas of the former and helped him ways to implement those themes, forming an intuitive collaboration.

"[18] Marcy Donelson of AllMusic summarised that Jóhannsson's score "delivers tension and off-kilter anxiety in both hushed and hyper musical moments".

[20] Ed Gonzalez of Slant Magazine wrote "Jóhann Jóhannsson's score is just one of many elements that conjure a relentlessly terrifying realm of despair.

"[28] Mark Kermode of The Guardian wrote "Jóhann Jóhannsson's score is all ominous rumbles and low growling honks [...] By comparison, Hans Zimmer's work on Inception sounds upbeat.