Wikipedia

Draft:Music of the Marvel Cinematic Universe: Phase Two

Development edit

Film soundtracks edit

Title U.S. release date Length Composer(s) Label
Iron Man 3 (Original Motion Picture Soundtrack) April 30, 2013 1:15:53 Brian Tyler Hollywood Records
Marvel Music
Thor: The Dark World (Original Motion Picture Soundtrack) November 12, 2013 1:17:11
Captain America: The Winter Soldier (Original Motion Picture Soundtrack) April 1, 2014 1:14:32 Henry Jackman
Guardians of the Galaxy (Original Score) July 29, 2014 1:04:34 Tyler Bates
Avengers: Age of Ultron (Original Motion Picture Soundtrack) April 28, 2015 1:17:26 Brian Tyler and Danny Elfman
Ant-Man (Original Motion Picture Soundtrack) July 17, 2015 1:05:20 Christophe Beck

Iron Man 3 edit

With Iron Man 3 featuring a post-Avengers Tony Stark, Marvel and incoming director Shane Black wanted to move away from the rock sound of the previous Iron Man films,[1] and towards "a score that echoed the classics of super hero film history",[2] for which they approached Brian Tyler, a Marvel fan whose previous music had often been used in temp scores for other films by the studio. Tyler stated that Marvel was interested in him for his more thematic work from the likes of The Greatest Game Ever Played, Annapolis, and Partition, rather than his "modern" action music such as that for The Fast and the Furious films and Battle: Los Angeles, and wanted him to combine the energy of the latter with the sensibilities of the former. In addition to the classic orchestra, Tyler recorded metallic sounds such as anvils being hit to add an element of "iron" to the score. As a nod to the previous Iron Man composer's use of guitars, Tyler added instances of the orchestra performing Black Sabbath-like riffs throughout the film.[1]

Marvel specifically asked Tyler for a new and different, "really identifiable" theme for Iron Man to represent his "serious" new role in the MCU as a "legitimate superhero", which Tyler described as a thematic reboot. To create a "bigger and grander" sound than the previous Iron Man scores, Tyler took influence from the works of John Williams, Alex North, and John Barry, among others. Tyler composed the new theme on piano, but always intended it to be a "march and anthem" with a large brass component. Tyler also used the same theme played on a harp to represent Stark's sad emotional state after he is stranded without the Iron Man suit,[1] and created a "wild 1960s style" arrangement of it for the film's main titles which had reminded Tyler of a typical police series from that era.[2][3] For the Extremis technology, Tyler wanted a motif with a magical quality as he felt that it was technology so futuristic that it seemed like magic, and so looked to Williams' "The Well of the Souls" cue from Raiders of the Lost Ark for inspiration, giving the motif a spiritual feel. The idea of spirituality also extends to the Mandarin's theme; Tyler noted the ambiguity of the character in terms of ethnicity and culture, and how he appears in the film as a "be-all" terrorist, as well as his role as a fanatical, "quasi-religious leader" comparable to Jim Jones.[1] The theme ultimately combines religious music from multiple cultures—including Monastic, Gothic, and Christian chants and choirs, and sounds from the Middle-East and Asia—and was primarily played on the bansuri and bazantar.[1][3]

Thor: The Dark World edit

 
Brian Tyler has scored or co-scored three feature films, a One-Shot, an MCU television special and Marvel Studios' initial fanfare.

Branagh chose not to return for the sequel to Thor,[4] and was replaced as director by Alan Taylor.[5] By August 2012, Doyle had discussed potentially returning to score the film with Taylor,[6] however, Taylor's first choice for composer was Carter Burwell,[7] who signed on to Thor: The Dark World by April 2013.[8] A month later, Burwell left the film in what Marvel described as a "creative split",[9] and Tyler signed on to replace him that June.[10] President of Marvel Studios Kevin Feige later explained that Marvel had approved of Taylor's choice based on Burwell's collaborations with the Coen brothers, but the studio ultimately felt that Burwell was not the right fit for the film, and had to make an early decision to replace the composer due to the relatively short time left for post-production on the film; Feige admitted that if there was "time for trial and error, it might have worked" out. Tyler was chosen by Marvel to replace Burwell based on the positive experience the company had working with him on Iron Man 3.[7]

On differentiating his scores for Iron Man 3 and The Dark World, Tyler said that they were at the opposite ends of the "superhero spectrum", and so even though he used full orchestras for both, "the actual writing of the notes and the harmonies and all that was different."[11] He later elaborated that "The feel of Thor is a very different than Iron Man. Yet they live in the same universe. For me, it's like somehow Indiana Jones showed up on the Enterprise, or something."[12] Tyler described The Dark World as "science fiction meeting classic medieval war",[11] and saw it as a cross between Star Wars and The Lord of the Rings—"there's spaceships and lasers ... but within it they wear capes and fight with swords and ride horses ... those were not elements really present as much in the first one. So it required something different. I think my score for Thor: The Dark World would have been out of place in the first film and vice versa."[13] Azam Ali, who collaborated with Tyler on Children of Dune, and Tori Letzler are featured vocalists for the score; Tyler felt that their contributions provided "something emotional" to the score.[14][15]

Rather than have Tyler reprise Doyle's themes from the first film, Marvel wanted Tyler to create a new, post-Avengers Thor theme as he did for Tony Stark in Iron Man 3.[1][13] Tyler described his new theme as mature, regal, and epic, and noted that the romantic elements with the character Jane Foster become "kind of melancholy" for the sequel, "because she's this mortal that he's fallen for, which could not be further from his side of the train tracks".[13] The theme for Thor evolved from a more "pageant"-like theme that represents Asgard in the film,[16] which has a much more lived-in feeling than it did in the first film. Tyler also introduced a new theme for post-Avengers Loki to reflect his increasingly complicated personality and storyline,[3] performed on a harp to play against expectations.[17] Despite not reprising Doyle's themes, Tyler looked to pay homage to his general style and sound from the first film during quieter moments like dialogue scenes.[3] He also quotes Silvestri's Captain America theme when that character makes a brief cameo appearance.[3][18]

Captain America: The Winter Soldier edit

When Henry Jackman was in the running to score Captain America: The First Avenger, he had written "a full-on traditional symphonic, Americana score" as proof-of-concept for Marvel, which he looked to return to when Marvel asked him to score the sequel, Captain America: The Winter Soldier. He felt that Silvestri had used that same style to great effect in the first film, but found that the second film "could not have been more different, and the score was not suitable, so I had to rewrite it".[19] Jackman said of his work on the film, "it's 50% production and all the tricks I've learnt from spending years in the record industry but then it's also got the kind of injection of symphonic, thematic, heroic music that all kind of merges into one musical, and hopefully coherent piece".[20] He described the film as aesthetically "way closer to something like Dark Knight Rises than it is to say the Richard Donner's Superman, or the traditional, nostalgic superhero film."[19] Some of Silvestri's work from the first film is tracked into the opening of the sequel, which Jackman said "reminds everyone where we left off. This character is about to get hurled into a completely different environment, so it's a nice way to tie the two films together."[21] Jackman reprises Silvestri's Captain America theme from The First Avenger at the beginning of the film.[22]

Jackman first created three pieces of music for directors Anthony and Joe Russo: a modern Captain America theme; a six-to-seven minute suite for the Winter Soldier; and a track representing Hydra.[20][23] Concerning Captain America, Jackman struggled to balance having "enough theme so that you've got something heroic to cling onto, but not so much that it's just becoming nostalgic and irrelevant", and stated that in the third act "the more melodic, the more lyrical, the more thematic element [starts] to come through". The one note Feige gave Jackman on the score was asking him to embrace "those moments that are emotional or historical or nostalgic", such as when the character visits his own Smithsonian exhibit. For those, Jackman took some inspiration from the works of Aaron Copland.[23] Jackman described the Winter Soldier as "a mechanized, violent, relentless, nihilistic beast that just destroys everything in its path", so approaching the character in a Wagnerian way would be "inappropriate ... instead [I decided] to embrace it and start exploiting all these other tricks I've learned in working in the record industry and making drum and bass records."[19] In the Winter Soldier suite, "the strings only show up for the last minute. It is violent—it's got screaming and banging and it's dystopian and dysfunctional. Much closer to a modern electronic thing than anything orchestral."[19][20] Jackman spent ten days just processing vocal recordings to give the theme a sense of "tortured, time-stretched human cries of someone who has been so processed that it's become mechanized at the same time but you can still hear the human in there". He also tried to give the piece an arc, where the human elements get more "revealed toward the end of the film" as Captain America and the audience come to learn who the Winter Soldier is and care about him.[24] When Jackman played the suite for the directors, they loved the unique and non-film music sound, and asked that Jackman not sanitize or water it down for the film—Joe said, "I really want to hear that in the movie and not just 20% of" it.[20] For Hydra, Jackman wanted to move away from the "Wagnerian symphonic baddie music" of the first film, and "come up with a sinister tonality that didn't feel like the muhahahaha of an arch villain, because the sinister nature of the neo-fascist within the film is modern, credible and politically contemporary."[23] Jackman also introduces a motif for the Falcon.[25]

Guardians of the Galaxy edit

As he did on his previous films, director James Gunn brought his composer Tyler Bates onto Guardians of the Galaxy in pre-production so Bates could write music ahead of time for Gunn to film to.[26] Gunn provided material such as "pre-video sequences" for Bates to use while writing the music,[27] and then "during action scenes and huge dramatic moments we blare the score on set so that the cast, crew, and camera can move in harmony with the music. Music is often an afterthought in film, but never for us."[26] Bates then re-wrote most of the score once the film was being edited. Bates found the score to be his "most demanding", and explained that "at least half the cues in the movie have more than 500 tracks of audio", consisting of multiple orchestral passes, choirs, overdubs, and other instrumentation.[27] On working in with all of the songs that Gunn put in the film's soundtrack, Bates said, "The music is literally a different personality in the movie, has a different function than the songs. It exists more, not only to be propulsive in the action sequences and to set up some of the comedic moments, but really to underscore the emotional depth of the characters."[28]

Bates said on using themes and motifs in the score, "Very few movies that are made these days are fantastical enough to sustain huge, bold identifiable themes. Even with the majority of the comic-book films, they have a tendency to be steeped in a realism that would be disturbed or interrupted by highly emotive, melodic themes, and it seems like a lot of the stuff going in these films is propulsive and somewhat cold emotionally." He felt that Guardians of the Galaxy did not fit this model, and "unabashedly embraced leitmotifs for the array of cosmic characters" that appear in it.[29] Bates described creating a new main theme for a Marvel franchise as "the most rewarding aspect of stepping into a movie like this".[28] Gunn asked for "something kickass that a 4-year-old would remember", and Bates came up with the theme by "noodling" on an electric guitar.[29] The villain Ronan's theme is quoted in full only once in the film, as Bates and Gunn wanted him to be more serious and scary which they felt would be undermined by a loud, melodic theme.[30] His presence is generally represented with tones "chock full of low-brass" and synths.[29][30] Bates has "some spongy synthesizers pulsing through" the motif for Groot, which he developed in pre-production. Bates said that he would have infused the score with more of those electronic elements if it was not for the "frenetic working process" on the film.[28]

Avengers: Age of Ultron edit

After scoring both Iron Man 3 and Thor: The Dark World, Brian Tyler was rumored for several months to be scoring The Avengers sequel Avengers: Age of Ultron, before officially signing on to the film in March 2014.[31] He said that his template for the film was game changing scores such as those for Star Wars, Superman, and Raiders of the Lost Ark, feeling that "You have to build in nostalgia and do it upfront so you can relate to it."[32] In February 2015, Danny Elfman was revealed to have composed additional music for the score,[33] ultimately receiving co-composer credit.[34] On working with Elfman, Tyler said, "The movie is such a large canvas that there were parts that really benefited from his kind of voice. But also, it needed to all fit together and hang together seamlessly, and that was something we worked really hard on doing."[35] Tyler and Elfman strove to orchestrate, record, and mix their music similarly.[36] Tyler wrote much more quiet and emotional music for Age of Ultron "than you would've thought ... you can go deeper in a second movie because in the first movie you really have to set everyone up". He gave Hulk's farewell to Black Widow, Pietro Maximoff's sacrifice, and the time spent at Hawkeye's farm as examples of this.[37]

Tyler stated that his usual approach to taking over a franchise from another composer is to "try to take from what's before me and also forge ahead".[35] So, though Tyler "was really married to" the idea of reprising Silvestri's Avengers theme from the first film in the sequel and wanted to keep in-line with "the language of what Alan had done in The Avengers",[37] he instead began by composing a "classic, epic" suite of his own for the film. Titled "Rise Together", Tyler said that it "is much more about pageantry and a march, and there's a slight militaristic aspect. I tend to stay away from that, but I felt that that, combined with a choir, would make them feel larger than life. And certainly, this is when they're 'rising together,' so you need to have that unifying heroic theme with them."[35] Elfman then took Silvestri's theme and "pulled it into" the new material for the sequel to make a "kind of a hybrid" theme for the film.[38] Tyler also reprised his own Iron Man and Thor themes in the score, as well as previous Captain America material, "in order to create a similar musical universe",[32] especially since those character's post-Avengers solo films "set up" Age of Ultron.[37]

Tyler composed several other new themes for the film, to represent the titular villain Ultron; the relationship that develops between Black Widow and the Hulk; and the new Avenger Vision.[37] Tyler wanted Ultron's theme to sound "almost heroic", since Ultron thinks he is saving the world, "but dissonant and tweaky enough" to reflect that "he doesn't quite have it right" and is still a villain. The melody is simple so that it is easy to remember, but starts flat by one note to make the theme sound slightly "off", is played on two pianos with one of them out of tune, and when the main phrase is repeated the last note is played "ahead by a beat" the second time; "not only out of tune, but out of time." The theme also features an artificially distorted guitar to give it a machine-like tone.[39] Tyler described the Black Widow/Hulk relationship as an "unrequited romance and this kind of sad situation" with "the curse of the Hulk being a barrier between [the two characters] and what they really want. And so that melody, that had to be almost like a lullaby, but broken."[37] Tyler wrote the "lullaby" to be understated, and it is often played on piano or cello.[36] For the Vision's theme, Tyler "wanted to go for something that was underneath and delicate, and had kind of a wispy nature to it, in a sense—and almost towards the romantic".[35] He tried to reflect the character's role as a messianic figure of sorts, and Ultron's intended redemption for Earth,[36] and said, "you don't really know what side he's on. You have this guy who's literally two minutes old and is born in this movie with this knowledge of humanity. It's Machiavellian in a way." The theme is an adagio that is "not your typical bombast, look how muscley this guy is; it's more of a mystery."[40] To represent the character's youth and questions about himself, it features string glissandos that constantly change between chords during his introduction, and often momentarily settle on uncertain notes and sounds.[36] Tyler constantly instructed the orchestra to play quieter, "trying to say more with less for Vision".[35] The music for the visions that the Scarlet Witch gives the Avengers pays homage to scores from the 1950s, with Tyler using a "randomly played" vibraphone and strings such as a harp to create a "dreaminess" and "hypnotic effect".[36]

Ant-Man edit

Steven Price was announced as the composer for Ant-Man by director Edgar Wright, who he had previously worked with, in February 2014,[41] but they both left the film that March.[42] In January 2015, Christophe Beck was hired to score the film, having previously worked with the new director, Peyton Reed.[43] Beck and Reed began experimenting with "high concept" electronic music to create a "glitched out, digital, electronic, skittery score" that could represent the insect and technology aspects of the film, but it was ultimately "too weird and quirky ... almost weird for its own sake". Feige asked that they instead take "the classic symphonic approach with big themes and bold brass",[44] which Beck did with the unique twist of "a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy."[45] That heist genre gave Beck "a little latitude to use a rhythm section and something a little bit more funky and jazzy and groovy that I wouldn't otherwise have been able to get away with."[44]

Beck composed two main themes for the film: the Ant-Man superhero theme and a theme for family. In addition to using the traditional brass for the Ant-Man theme, Beck used an alto flute and violas, which he felt had "a little bit of the sound world of the heist movie and the spy movie, the old James Bond sound." For a sequence where Ant-Man surfs down a water pipe on a raft made of ants, Beck began arranging the theme as a "regular action cue" but found it "a little too intense for the scene". Reed wanted it to have more of a sense of fun, and Beck eventually wrote a piece evoking the "classic guitar surf music", but with the orchestra rather than a guitar. The family theme represents the film's two father-daughter relationships, between Scott Lang and his daughter Cassie Lang, and between Hank Pym and his daughter Hope van Dyne.[44] Beck also intended for it to "signify the emergence of Hope as something of a hero herself". Additionally, the villainous Yellowjacket has "a more traditional theme, presented in traditional fashion, but augmented with processed electronics to convey the crazed and obsessed nature of the character". Of the many ant species featured in the film, Reed and Beck felt that the bullet ants deserved their "own identity"; since the species is primarily indigenous to South America, Beck used ancient Aztec drums and tribal flutes to give them a "regional flavor".[46] For a scene where Ant-Man infiltrates the Avengers compound, Beck quotes Silvestri's Avengers theme and Jackman's Falcon motif from Winter Soldier.[25][46]

Short films edit

Agent Carter edit

Lennertz, who returned to score the One-Shot, and D'Esposito, the director, wanted a more traditional, orchestral score for Agent Carter,[47] with D'Esposito wanting to balance the period setting and modern Marvel superhero feel. D'Esposito referenced Johnny Rivers' "Secret Agent Man", "even though it was in the 60's" as inspiration. Lennertz felt D'Esposito "did a terrific job getting that [feeling with the One-Shot] and reaching that" while having "a James Bond secret agent sentiment to it too."[48] To create the score, Lennertz "put together a big band, combined it with an orchestra, and added modern electronic and dub-step elements", to represent the 40s setting, the Marvel feeling, and the advanced technology, respectively.[47]

All Hail the King edit

With All Hail the King serving as a spin-off/sequel to Iron Man 3, many crew members from the film worked on the short alongside returning actor Ben Kingsley, including composer Brian Tyler.[49] He described his music for All Hail the King—which features a title sequence inspired by Dr. No, Charade, and Iron Monkey, as well as other exploitation films "ranging from obscure Kung Fu to funky Italian Horror"—as "retro vibed".[50][51]

Compilation albums edit

Title U.S. release date Length Label
Iron Man 3: Heroes Fall (Music Inspired by the Motion Picture) April 30, 2013 (2013-04-30) 44:36 Hollywood Records
Marvel Music
Guardians of the Galaxy: Awesome Mix Vol. 1 (Original Motion Picture Soundtrack) July 29, 2014 (2014-07-29) 44:34

Iron Man 3: Heroes Fall edit

Guardians of the Galaxy: Awesome Mix Vol. 1 edit

In February 2014, director James Gunn revealed that Guardians of the Galaxy would incorporate songs from the 1960s and 1970s, such as "Hooked on a Feeling", on a mixtape in protagonist Peter Quill's Walkman, which acts as a way for him to stay connected to the Earth, home, and family he lost.[52] When choosing the songs, Gunn read the Billboard charts for all of the top hits of the 1970s, downloading "a few hundred" songs that were "semi-familiar—ones you recognize but might not be able to name off the top of your head" and creating a playlist for all the songs that would fit the film tonally. Gunn then chose the songs for the film by listening to the playlist and being "inspired to create a scene around a song", or by having "a scene that needed music and I would listen through the playlist, visualizing various songs, figuring out which would work the best." Many of the chosen songs were played on set to help "the actors and the camera operators find the perfect groove for the shot", with David Bowie's "Moonage Daydream" the only song chosen and added during post-production.[53] In addition to the Awesome Mix Vol. 1 album, Hollywood Records released a cassette version of the soundtrack on November 28, 2014, as an exclusive to Record Store Day participants. The cassette was the first from Disney Music Group since 2003.[54]

Reception edit

References edit

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  53. ^ Suskind, Alex (August 8, 2014). "Director James Gunn on How He Chose the Music in Guardians of the Galaxy". Vulture. New York. Archived from the original on August 9, 2014. Retrieved September 19, 2014.
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