“Guardians of the Galaxy”
If, after leaving the cinema, you are humming to the main theme of the film, then the composer did an excellent job. Music is just as important a part of a movie as acting, visual effects, scenery or costumes. Audionenie influences the emotional background, helps uncover the character and immerses in what is happening. Superhero movies are no exception. Somewhere the mood is created by a well-chosen song, such as “Hooked on a Feeling“In” Guardians of the Galaxy “or” Iron Man “in the” Iron Man “, but more often the composer purposefully works on the theme of the hero and writes music under his image. Film Search has chosen the top 10 composer solutions from the comic blockbuster.
In America, you should say “Superman”, and you will immediately recall the monumental soundtrack of John Williams. The person who wrote epic things for “Star Wars” and “Harry Potter”, initially did not have to work with “Superman”. Composer in the film Richard Donner took Jerry Goldsmith, who worked on “Omen.” Goldsmith’s music even managed to be used in one of the trailers, but he left the project, unable to find a window in a tight work schedule. In his place took John Williams.
“One of the principles that guided me while working on the film is that” Superman “is first and foremost entertainment. The creators do not go too far with seriousness. And the way Richard (Donner) staged the scenes with Christopher (Reeve) and Margot (Kidder), looks almost theatrical, “Williams reflects.
This theatricality the composer gave in his creations. He turned to the London Symphony Orchestra for help, creating one of the most memorable soundtracks in history, if not all of the cinema, then at least his comic line.
Danny Elfman played in a rock band, which he himself founded. She was called Oingo Boingo, and more recently her songs could be heard in the TV series “Very Bizarre”. In the big movie of Elfman was brought by Tim Burton. It was in 1985, when the macabre maestro was shooting the “Great Adventure of Pee-Vee”. Then Danny will write a soundtrack for the Beatles, and in 1989 Burton, in spite of the studio’s desire, will take him to the film adaptation of Batman.
At first, Elfman was ill at ease, he first worked on such a large-budget project. In addition, the film’s producers insisted that Prince write music for the Joker, and Michael Jackson engaged in romantic audio. But Burton wanted to give everything entirely to Elfman. The composer himself later found a compromise, combining in his music the styles of Prince and Jackson. Warner Brothers, however, all the same remained at the opinion, having let out separately works of untwisted Prince and Michael Jackson and hardly later an album with compositions of Elfman. At the same time the album with pop songs was released three days before the premiere of the film and was submitted as an audio accompaniment of a comic-blockbuster. The film also used the compositions of Elfman, recorded with the assistance of the London Symphony Orchestra.
It is noteworthy that Elfman returned to Batman in 2017, when he worked on the League of Justice. Long before the release of the film, he proudly declared: “You will hear the Batman theme. There is only one theme of Batman. And this topic was written for the 1989 film. “
“Man of Steel”
Fight. A threat. Anxiety. Test. Hope. The soundtrack to “Man of Steel” Zach Snyder revolves not around the character, but rather, conveys the situation in which the hero appears. The history of Zimmer’s appearance in the project “The Man of Steel” is quite comical. The German did not even plan to work on a superhero film, in particular because of the trembling before the epic Williams soundtrack. But at the reception in honor of the premiere of “The Beginning” a journalist approached him and asked about his work on “The Man of Steel.” Zimmer denied everything, but for reasons that he could not understand, an article appeared that said that he would write music for a new story about the Kryptonian. On the same day Zimmer was called by Zack Snyder and made a proposal to him.
“I wanted to write epic music that would suggest thoughts about fields and farms stretching far beyond the horizon,” Zimmer explains. – And this massive, powerful soundtrack that you hear during the battle with Zod, comes more from internal problems. The music is not dedicated to the Superman icon, it rather reflects its nature of the hermit with extraordinary powers and the struggle for the chance to become a part of humanity. “
“There is a trend in the cinema, according to which films are getting louder and louder every summer. I paid attention to it 10-12 years ago. There will come a time when there is nowhere to be louder, “grumbled Elfman at a traditional meeting with his colleagues on the eve of Oscar-2008, when he was nominated for the award for his work on the film” Harvey Milk. “
In the round table discussion, Danny complained that the directors asked to write more tempo music, borrowed much of the other films and generally oversimplified everything. Sam Elfman believes that music should be built around the hero – in this case around a friendly teenager, a loser, which is more complicated than it seems at first glance.
Perhaps this topic would go down in history, like the work of Tim Burton or John Williams, but we know how Sam Raimi’s franchise ended. The film hit the production hell. Raimi could not possibly please the studio with the script and eventually dropped the case, saying that he was tired. A promising project was abandoned, then two restartings followed, and as a result, Spider-Man still does not have a recognizable musical theme (not songs, but themes).
“X-Men: First Class”
The composer’s approach to work is best conveyed by the quotation of director Matthew Vaughn and one gorgeous scene from the beginning of the “First Class”.
“We worked on music, and I sat on the piano,” recalls Vaughn. – The instrument was Henry, and he played the theme of Magneto. He just started, and then I got in: “No, add one more note to the end.” Jackman asked: “What are you talking about?” I explained that there is a video with Magneto, which I viewed along and across. Another note is all that Michael Fassbender needs. Of course, Michael is not one of those who need help, but sometimes music enhances the actor’s play. Michael did everything at the highest level, he’s a fantastic actor. “
Even a pity that Matthew Vaughn did not deal with the universe of the “X-Men” further. His film is one of the best in the new cycle. What is even more sad is the absence of the Magneto Jackman theme in the tapes of Brian Singer.
The films of James Mangold are not only out of the 20th Century Fox comic strip, but also from superhero blockbusters in general. Wolverine at Mangold suffers and cripples Batman’s hatred at Christopher Nolan. He is in a psychological crisis and, despite the regeneration, is physically imperfect. In music, this was reflected by Marco Beltrami, whom Mangold took with him from the project “Train to Hume”.
“Director James Mangold made a very original movie, so the less traditional soundtrack was quite appropriate, it’s not so sharp for the spectacle and popcorn,” Beltrami explained.
Many composers rely on orchestral sounds, loud, resonating instruments, but Beltrami came up as a minimalist. And it worked!
As Beltrami himself says, the visual was the dominant one, and the music became a sort of texture. Audio tracking should not pull the blanket over. And the composer decided to experiment with different extraordinary instruments – with an organ, a glass harmonica, a drum kit. As an inspiration, films of the seventies, westerns and road-movies were used.
The complete opposite of “Logan”, the soundtrack to “Deadpool” sounds arrogant, playful, cynical and even inappropriately fun. He abounds in so unloved composers with tempo music, setting the rhythm under which a mercenary in red tights wet his enemies. Especially this soundtrack makes the presence of Junkie XL, it’s Tom Holkenborg. The former DJ becomes one of the most sought after composers of Hollywood. He mixes in the film instrumental, industrial sounds and electronics.
Before writing the soundtrack to “Deadpool”, Tom looked at it five times and came to the conclusion that the protagonist stopped growing up after 1990, so all musical references go to the eighties (in the hands of the player’s 1983 character).
“I began to think that I needed something from the eighties. I had a lot of synthesizers made in those days. It took a lot of time to find a combination of audio effects to write music the way you hear it, “said Junkie.
Junkie used an old ARP 2600. A soundtrack for “Escape from New York” was written on this synthesizer, but if in those days it sounded serious and menacing, now it’s old-fashioned and funny. This is the idea of Holkenborg. Junkie XI sought to find a retro sound and at the same time create a slovenly bit that would “inflate the tempo, inflate the action.”
“Batman vs Superman”
The soundtrack “Batman vs. Superman” came out as controversial as the film itself. Zimmer was reproached for repetition and work on the algorithm, which he secretly admitted, having retired from the comic blockbuster. A year after the announcement of leaving the comics, it turned out that Zimmer had a hard time working on Batman vs. Superman. He could not write a theme for Batman, because he still saw in the costume of bat Christian Bale. He also had problems with the theme for Wonder Woman, but Tom Holkenborg came to the rescue. Most of the soundtrack Zimmer and Holkenborg wrote together, but “Is She With You?”- this is the author’s work of the Dutchman.
Together, Tom and Hans turned to Tina Guo, a great cellist, who played the theme for Diana. “Every time Tina takes a cello … This very nice, beautiful, fragile, polite girl in an instant turns into a militant princess,” Zimmer says.
“Iron Man 3”
There is an opinion that the weakest place in the Marvel universe is music. Producers and directors of comics-blockbusters prefer not to experiment and abuse tempo music. Soundtracks do not crash into memory. Marvel could do without audio at all, as it simply duplicates what is happening on the screen: the hero is frightened – the music is pumping, the hero is in danger – the music is disturbing, the hero plays a tough guy – the music becomes bravado. To the curator of the universe Kevin Feigi quickly realized that it was necessary to change the approach.
The composer of “Iron Man 3” Brian Tyler recalls that at the first meetings, Feigi and director Shane Black were asked to do something in the spirit of the classics a la “Superman” and “Star Wars”, an original theme with the use of wind instruments.
“Iron Man’s early soundtracks used a guitar that emphasized Tony Stark’s impulsiveness, but now he’s changed,” Tyler says. – On the shoulders of Tony lay a lot, especially after the “Avengers”. It has heroism and at the same time a boy’s personality. In addition, he is stupid. In general, she was still a problem. In the soundtrack there are modern trends, but in his heart he gives away classics. “
The irony is that Ramin Javadi, the composer of the first “Iron Man”, once brought the director John Favreau an orchestral theme in the spirit of the classics of superhero cinema. But he was asked to approach the question differently – to emphasize the rock’n’rollness of Stark’s guitar sounds. The third film from this concept was gone.
Marvel had a hard time with the “Ant-Man”. The tape barely fit into the allotted calendar window due to the escape of director Edgar Wright. The project could not find a director for a long time, and eventually he went to Payton Reed. He shot an unusual movie for MCU, in which there was little heroism, combined features of comedy and cinema about robbery, and the final battle unfolded on the children’s railway.
The soundtrack came out appropriate. At first, Christophe Beck wanted to simulate the sounds of insects with the help of electric digital sounds. It’s like a robotic spider trying desperately to get out of the cage – that’s how Beck described music. Producer Kevin Feigi appreciated the concept, but nevertheless cut short the idea, saying that he wants to hear music, and not to check if his columns broke. Then Beck wrote the soundtrack in the best symphony traditions.
“The soundtrack has a great range and a cool, sticky theme. What sets my music apart from other Marvel projects is the fun that each song is permeated with. In the end, it’s not just a superhero picture, but a film about a robbery, “Beck explained.
At the end, an hour’s playlist, which contains some of the best compositions of superhero cinema: