Tyler Bates scored James Gunn’s “Guardians of the Galaxy.” (Photo : Twitter/@tyler_bates)
“Salem” music composer Tyler Bates is set to be on board and be in charge in the soundtrack of James Gunn’s “Guardians of the Galaxy: Vol. 2.”
According to Collider, Bates stands as the second composer to score a direct film sequel in Marvel’s Cinematic Universe, with Henry Jackman as first, scoring Joe Russo and Anthony Russo’s “Captain America: The Winter Soldier” and the upcoming “Captain America: Civil War.” Bates scores have been remarkable to fans, in addition to Peter Quill’s “Volume 1” mixtape.
Bates wrote some scores in advance for Gunn’s “Guardians of the Galaxy,” so that the director could shoot some scenes that synergize with the music. Hence, it is possible that the music composer will do the same in Gunn’s film sequel, as per Cinema Blend.
Aside from scoring Gunn’s “Guardians of the Galaxy” last year, Bates is also known to compose the music for Zack Snyder’s action fantasy film “300” and “Sucker Punch,” and Chad Stahelski and David Leitch’s action thriller “John Wick.” He is set to score Emilio Estevez’s drama film “The Public” and Greg McLean’s horror thriller “The Belko Experiment.”
In addition to Bates’ music in Gunn’s sequel, fans will see the comeback of Kraglin, Yondu, and Nebula, along with a possible storyline involving Quill and his father, who was not central in Gunn’s “guardians of the Galaxy.”
“Guardians of the Galaxy: Vol. 2” stars Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper (voice), Vin Diesel (voice), Karen Gillan, Michael Rooker, and Sean Gunn, among others.
Gunn’s “Guardians of the Galaxy: Vol. 2” is set to hit the big screen on May 5, 2017
He has spent over two decades in Bollywood as a music composer and singer. During his journey, he has bagged prestigious honours, including multiple National Awards and even two Academy Awards. But meet AR Rahman, and you are taken aback by his humility and calm demeanour. Post the launch of his new band, NAFS, HT caught up with the composer-turned-scriptwriter to discuss Bollywood music, the use of technology in film music, and much more.
In an earlier interview, you’d mentioned that there is a dearth of good music in Bollywood today. Has your opinion changed?
There’s some good and passionate stuff happening. I only think that classical music, which is something very important, is being left out. Understanding and implementing it in mainstream movies is challenging, and people are not able to take up that challenge. Because of that, a lot of boring stuff is happening. I think if music makers keep that challenge in mind, work can get better. That’s what I always try to do.
When one listens to your tracks, it’s not difficult to make out that they are your compositions. Do you fear becoming predictable?
I think predictable is not the right word; it is identification. Usually, I don’t like to be predictable. That’s what has made me survive for so long. I think identity is very important.
You have been keeping a low profile on the Bollywood music front.
I have been busy developing a lot of film scripts, so unfortunately, I had to make some sacrifices on that front. My first script for a Bollywood film is in the pre-production stage, and [we are] casting [for it]. It’s taken us four years to reach here. As far as Bollywood music is concerned, I am currently busy with the soundtrack of Imtiaz Ali’s film.
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Tell us about your new band, NAFS?
It took us a year-and-a-half to finish work on the band, which will be operated by Qyuki. It comprises nine members — eight vocalists and one bassist. We want to make this a performance band, and turn it into an ambassador of Indian music at international festivals. The aim is to spread our music. The members of the band can sing in western genres, as well as Hindustani and Carnatic music. There is a lot of emphasis on Indian classical. The band may also perform at a mall or a railway station.
Do you think the excessive use of technology in film music affects the musical growth of an artiste?
Yes, I agree with that. That’s why I am focusing more on live performances. However, I think technology is just a tool. It is the convenience and laziness of humans that leads to irritation. I think composers should be concerned about what they are putting out. When I make music, I take more time to remove things from my compositions. I listen to a song at least 100 times to remove what’s irritating and unnecessary. That is very important.
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Has your process of making music changed over the years?
It’s become more complicated now. That’s because I want to live with my songs all my life. I want to be proud of my work. Whether people like it or not, it’s been my formula.
Who are your favourite young singers?
There are many upcoming singers and independent artistes. I keep promoting them by putting up their works on Facebook. Among the current lot in Bollywood, I like Amit Trivedi and Sneha Khanwalkar (composers).
James Horner, who has died aged 61 in a plane crash in California, was one of the most successful and admired composers of film soundtracks in Hollywood. He wrote music for more than 100 films, and his extensive list of awards included two Academy Awards and two Golden Globes, as well as 10 Oscar nominations, seven nominations for Golden Globes and three for Bafta awards.
Horner’s music was an integral part of some of the most successful films of recent decades. His score for James Cameron’s Titanic (1997) won an Oscar for best original dramatic score, and he also won best original song for My Heart Will Go On, the love theme from Titanic, which was co-written with Will Jennings and sung by Celine Dion. It became a huge hit in its own right, selling 15m copies. The recording of Horner’s Titanic score also sold 27m copies. He had previously collaborated with Cameron on Aliens (1986), which had earned him his first Oscar nomination, and on the score for Cameron’s 2009 sci-fi fantasy Avatar, which was also nominated.
There were several films with Mel Gibson, of which Braveheart (bringing another Oscar nomination) was the most prominent. His Braveheart score, like his work on Titanic, showcased Horner’s fondness for folk and ethnic musical influences. But he would also cite composers such as Britten, Prokofiev and Tallis as influences on his work.
He formed a successful partnership with the director Ron Howard, and his work on Apollo 13 (1995) and A Beautiful Mind (2001) again put him on the Oscars shortlist. With Edward Zwick, a director Horner described as “very difficult and very opinionated”, he worked on Glory (1989) and Legends of the Fall (1994), earning Golden Globe nominations for each.
Horner was born in Los Angeles to Joan (nee Frankel) and Harry. His father, who had been born in Czechoslovakia, moved to the US in 1935, and was an art director and set designer who won Oscars for his work on The Heiress (1949) and The Hustler (1961). James began playing the piano when he was five, and was sent to study at the Royal College of Music in London. He returned to Los Angeles, took a bachelor’s degree in music at the University of Southern California, and went on to postgraduate work at University of California, Los Angeles.
He began his film career in the late 1970s by working on shorts for the American Film Institute, and wrote his first full-length score for 1979’s The Lady in Red (directed by Lewis Teague, but re-released by Roger Corman in 1980 as Guns, Sin and Bathtub Gin). After cutting his teeth on films such as Oliver Stone’s horror flick The Hand (1981), he made the leap to large-scale popular work with Star Trek II: The Wrath of Khan (1982), Walter Hill’s buddy-cops yarn, 48 Hrs (1982), and Michael Apted’s well-received 1983 film version of Martin Cruz Smith’s novel Gorky Park.
That same year he wrote the score for The Dresser, Peter Yates’s adaptation of Ronald Harwood’s West End and Broadway play. He knew Harwood’s daughter, Alex, now a film composer herself, from his time studying in London. “I remember my father coming back from a visit to James when he was studying at UCLA, and saying he had heard his music and it was all bumps and squeaks,” she explained. “Dad asked ‘where are the melodies, James?’ and that was a joke for years in our family. Then he became a film composer and he was writing these incredible melodies.”
She recalled him as “a lovely person and incredibly gifted, though obviously deep down incredibly driven,” adding that he was “one of the last of that old school of composers, like John Williams, with proper classical training and unbelievable musical knowledge”.
In 1985 came Horner’s first collaboration with Howard, on Cocoon, the whimsical tale of a group of senior citizens in Florida being rejuvenated by aliens. Cameron’s Aliens followed, as well as An American Tail (1986, another Oscar-nominated project for Horner) and Jean-Jacques Annaud’s medieval detective story, The Name of the Rose (1986). Annaud became another regular partner and the pair later worked together on Enemy at the Gates (2001) and 2011’s Day of the Falcon.
Alongside his involvement in heavyweight drama productions, Horner worked on music for a string of children’s and animated films, including The Rocketeer (1991), We’re Back! A Dinosaur’s Story (1993), Casper (1995), and How the Grinch Stole Christmas (2000). He perhaps enjoyed these as a respite from the demands that often came with major products for big-name directors; he was also regularly bedevilled by producers, whom he criticised for being too interventionist, particularly on The Amazing Spider-Man in 2012.
At the time of his death Horner had three films slated for release in 2015: the boxing drama Southpaw, Annaud’s Wolf Totem, and The 33. But he was not solely concerned with film work. In 2014 he premiered his double concerto for violin and cello in Liverpool, and in March this year he unveiled his concerto for four horns at the South Bank in London.
He is survived by his wife, Sarah, and their two daughters.
• James Roy Horner, composer, born 14 August 1953; died 22 June 2015
• This article was amended on 24 June 2015. Through an editing error, the quotation beginning “a lovely person…” was attributed to Ronald rather than Alex Harwood. On 14 July, a further amendment was made to details of surviving family members.
Ant-Man is a 2015 American superhero action film directed by Peyton Reed and starring Paul Rudd, Evangeline Lilly and Corey Stoll. Forced out of his own company by former protégé Darren Cross, Dr. Hank Pym (Michael Douglas) recruits the talents of Scott Lang (Paul Rudd), a master thief just released from prison. Lang becomes Ant-Man, trained by Pym and armed with a suit that allows him to shrink in size, possess superhuman strength and control an army of ants. The miniature hero must use his new skills to prevent Cross, also known as Yellowjacket, from perfecting the same technology and using it as a weapon for evil. The score is composed by Christophe Beck.
It’s Marvel time! (again), and I couldn’t be more excited. Sure, I don’t know anything about Ant-Man except he’s a guy in a suit who got shrunk and is one of the tiniest superheroes out there. The movie looks great based on the trailers I’ve seen, mostly because Paul Rudd is awesome. This Ant-Man character is even part of The Avengers so don’t be surprised if he appears in the next Avengers movie. Beck has spent some time on this. Rumour has it that he had to give Terminator: Genisys to someone else because he was so busy on Ant-Man. No idea if this is true, but that can only be a good thing. The ‘Theme From Ant-Man’ was shared by Beck a few days ago and it is a curious one. It’s very different from what you’ve used to in recent years from Marvel. It feels partly like 60s spy film music. Then again, this Ant-Man character (Scott Lang) is a thief, so it might just fit the character perfectly. In any case, I like it a lot. It’s different and fun. ‘Honey, I Shrunk Myself’ is next and what a fun title. It must be a spoof on the classic Rick Moranis film ‘Honey, I Shrunk The Kids’. Now the music is more “standard”, but standard doesn’t mean it’s bad. This is quite fun, particularly the action sequences in the second half of the cue.
I like that it’s not just a modern action style, but it’s mixed with a more classic orchestral action style. It also has that classic spy feel in certain cues like ‘Ant 247’ and I have to admit I love that style. I love the energy of this score, this really feels top quality all the way. Ant-Man is an anti-hero in a way, and I guess that’s why there’s not so much heroics in the music, but ‘San Francisco, 1987’ has a bit of a heroic feel to it and there’s a stint of heroism on ‘First Mission’ which makes sense. The score has a definitive tongue-in-cheek feel to it and I love that. It needs a bit of humour, and it seems that the music delivers. The score feels so developed, like a lot of time has been spent scrutinising every detail to just make it right. The horns, the percussion, the strings, it all feels just right. Love how a well-developed score like this can make me feel. At first when I listened to the Ant-Man theme I didn’t think it would be something I would remember, but as soon as I heard it in another cue, I remembered it instantly and was hooked. It’s actually quite catchy and hummable. The final track is a lot of fun, it sounds like a classic surfer track. I won’t spoil any more than that but it’s a hoot!
Nothing to say really except that this is the best superhero score of 2015. Beck killed it. Killed it!
Jurassic World is a 2015 American fantasy film directed by Colin Trevorrow and starring Chris Pratt, Bryce Dallas Howard and Vincent D’Onofrio. It is the fourth instalment in the Jurassic Park film series. The last one was Jurassic Park III in 2001. Twenty-two years after the events of Jurassic Park, Isla Nublar now features a fully functioning dinosaur theme park, Jurassic World, as originally envisioned by John Hammond. After 10 years of operation and visitor rates declining, in order to fulfil a corporate mandate, a new attraction is created to re-spark visitor’s interest, which backfires horribly. The score is composed by Michael Giacchino.
So it’s finally here, the fourth film in the Jurassic Park series. I remembered there were rumours about it many moons ago, but nothing happened. The first movie will always be special for me. I remember the first time I saw the dinosaurs how awesome it was and coupled with John Williams fantastic score, it hasn’t been beaten since. The sequel was good and the third one was interesting, but musically they have always had such great quality. I quite liked Don Davis ferocious score for the third film. With John Williams sole focus on the new Star Wars film, no wonder he had to give up this but there had to be a point where he was asked, because he is John Williams. It must have been heartbreaking for him to have to turn it down. It was always in the cards that Michael Giacchino were doing this. He was rumoured to be involved in Star Wars before John Williams was announced and there’s plenty of star power in Giacchino in recent years. It will be interesting to see if he can create something special and unique because there will be nods to Williams’ score, I guess there had to be. It’s interesting that in the booklet there are three cues marked with “Contains Jurassic Park Theme by John Williams”. Giacchino is not new to the Jurassic Park franchise though as he creates a very fun video game score to The Lost World, although it was very different from Williams main score for the series. The score starts with ‘Bury The Hatchling’ and as it should, it starts with a big bass boom and some horns coming with an ominous theme. The mood that is created is one of fear. The choir is coming in, and this is one scary choir. Quite an interesting opener. From scary moods to a playful mood with ‘The Family That Strays Together’, a light but a bit sad moment as the music with strings and horns create a nice canvas. And now… ‘Welcome To Jurassic World’ which, yes you guessed it, has John Williams marvellous themes and I’m truly sorry to Giacchino and everyone else involved, but all else is put to shame at this moment. It’s simply beyond comparison.
‘As The Jurassic World Turns’ contains some new and great ideas from Giacchino starting at 38 seconds in. There’s a heroic theme being played with notable percussion. It is really beautiful in fact. This must be the new main theme Giacchino created for the movie and it lasts quite a long time as well. Not until 1:50 does the music change into a more calmer state, but it returns again in playful state. Giacchino sure can write great themes, without question. There’s a difference though between great and iconic and I’m not sure it was a smart move to put Williams’ theme in here at 4:59, because it really crushes all competition. Still, it’s great to have Giacchino’s theme and Williams theme in there together. Makes for a fantastic cue. ‘Clearly His First Rodeo’ is the first action track and it is lively and fun. Reminds me in fact of some of the action music Williams wrote for the Star Wars in parts, particularly the horn blasts in the beginning. After the great opening, the music goes into a more dark and ambient mode, a mood setting mode. At 2:14 the cue totally changes into a playful and innocent “children” theme which is fun, but I would sure have liked them separate. Still, it’s great and it sounds so positive. With that kind of action music and the playfulness Giacchino shows in that cue, this score might be headed for greatness.
Some more tense music in ‘Indominus Wrecks’, and I really enjoy the mood Giacchino creates here. It’s dark, but I love how it’s put together. The music is literally alive and there’s always something interesting in the mix. This is definitely a by-the-numbers score by Giacchino. This is a fun and exciting vacation into Jurassic World for sure. One of my favourite cues are ‘Gyrosphere Of Influence’ which contains the main theme and the playfulness that Giacchino has so carefully sprinkled upon this score and the tense exciting music with small but important musical moments such as the shaking woodwinds tumble in there. Lovely! ‘Pavane For A Dead Apatosaurus’ has one of the best renditions of the main theme and a really fun secondary theme just around the 3:20 mark. It sounds like a military theme. Really nice. I’m quite sure Giacchino is having fun bringing back his Medal Of Honor days now, first with that military theme in ‘Pavane For A Dead Apatosaurus’ and more World War II hi-jinx in ‘Fits and Jumpstarts’. Fun stuff! More fun ahead in the zany ‘The Dimorphodon Shuffle’. It’s so fun in fact, I had to listen to it twice. Up there with the best I have heard so far. Hah! Puns! Giacchino has always had fun with the cue names (even though he probably had help like with Tomorrowland). ‘Love In The Time Of Pterosauria’ is awesome, pun-wise, but also musically. It’s an action cue that almost lasts from start to finish, and it’s amazing to hear. Giacchino can be great at these, and in this score he thankfully is. There’s even a lovely “love” theme or hint at it near the end.
What I like most about the score is that it’s in the spirit of adventure. It is varied within it’s context. It can be playful, it can be action filled, it can be romantic, dramatic, tends and it always changes. On top of that (or buried underneath) are these small moments in the score that makes it constantly interesting. It’s so fun to listen to that I just don’t want to stop. I don’t think you can say that this is a Dinosaur score though, because what it? Even John Williams score to Jurassic Park wasn’t a “Dinosaur” score. I think I mentioned in that review how the music is so great it could practically be for anything and still sound great. Much of it applies here. I can see a score like this work for Indiana Jones or even a sci-fi. It’s exciting and fun! The action alone in cues like ‘Raptor Your Heart Out’ and ‘Costa Rican Standoff’ might sound chaotic, but it’s in perfect order. Every note is used to push the message of danger, but also fun, adrenaline pushing fun. And how about the choir in ‘Our Rex Is Bigger Than Yours’? Sublime! I am in awe of this action music. Some of the best action music in years surely (when compared to purely orchestral scores). There’s emotions ahead, particularly in the awe-inspiring cue ‘Nine To Survival Job’ which is an epic theme, sweeping music. Just gorgeous. One more Williams reference in ‘The Park Is Closed’ and why not? Williams deserve a big piece of the pie and he is given one. The small reference is just that because this is mostly Giacchino’s new theme saying goodbye and in this context it almost makes me cry. Beautiful. It all ends with a massive 13 minute suite called ‘Jurassic World Suite’ and a few bonus tracks (digital exclusives?). Anyway, back to the suite. I love lengthy tracks, particularly suites and particularly when the score is as good as it has been. Strangely though the suite doesn’t seem to pick much from the best until around 7:30 when the military theme arrives. It’s actually a bit disappointing for a suite, but it’s still very good. The best part of the suite is the ending from 11:20. I am addicted to Giacchino’s action in this score.
Finally there are 4 “bonus” cues starting with ‘It’s A Small Jurassic World’ a fun and perky march. Kind of quirky, but never blatant comedic. Love it. ‘The Hammond Lab Overture’ is another version of the previous cue it seems. Very march-like and “old” sounding. Very beautiful. ‘The Brockway Monorail’ is another superb “old” sounding “march”. So perky and fun. What’s not to love? Reminds me of something he could have scored for a fun Pixar movie. Finally there’s ‘Sunrise O’er Jurassic World’ that is a stunning little cue that reminds me of classics like Star Trek TMP and even Superman and also JNH’s Dinosaur. This is a brilliant ending to a brilliant score.
Giacchino has written some great scores over the years, but maybe this is his best one? He’s still a young composer, but look what he has accomplished already. I think the only thing he really needs now is an iconic theme coming from somewhere, but is it possible in this day and age? If he managed that, he might just become close to the greats. In fact, if he’s managing to create an iconic theme that will be remembered forever in the current film scoring climate, I’m doubly impressed. How long was it since John Williams created his last iconic theme? Harry Potter? That’s a long time ago. Maybe the era of iconic themes has ended. Or just maybe, Giacchino is the man to do it. It’s not happening with Jurassic World, but that’s ok. This score is bundles of fun. Really terrific. Just drop the comparisons with Williams’ masterpiece Jurassic Park, there is no point. This is Jurassic World, a brand new movie in the franchise, it’s a different time, it’s 2015. On it’s own it’s just great, one of the best scores of the year.