This was a result of there being orchestral passages that were doubled or tripled, choirs, overdubs, and other instrumentals. "At least half the cues in the movie have more than 500 tracks of audio," Bates was quoted in an interview with Melinda Newman on HitFix. After all the work, they had a total of 29 different soundtracks giving a combined total of 64:34 of music. For 4 months, they clocked upwards of 100-hour work weeks to produce this finished product. This amount of work and effort required a massive undertaking by both Bates and his team. This required a fair bit of cooperation between Bates and Gunn in advance since these scores would not only be the final piece, instead of a temporary filler acting as a placeholder, but they also influenced the actual performance of everyone on set. Before any of the cinematography actually started, Gunn had Bates write several themes prior to shooting so the scene could be matched to the music instead of the score being created to fit the scene. Having worked with James Gunn in the past, Bates had a good idea on how Gunn wanted things done. The matter was settled amicably with the soundtrack credits being subsequently described as adapted from material by Elliot Goldenthal.īates composed the score for Guardians of the Galaxy in 2014. Pictures acknowledged this in an official statement. The soundtrack for 300 was controversial due to its heavy borrowing of themes from film scores by Elliot Goldenthal, amongst others. This did not, however, dissuade him from composing scores to smaller, independent films like The Way, Killer Joe, The Sacrament, and Flight 7500. It was around 2007 that Bates began working regularly on big-budget, blockbuster films including 300, Doomsday, The Day the Earth Stood Still, Sucker Punch, and Conan the Barbarian. For Zombie's remake of Halloween and its subsequent sequel, Bates adapted John Carpenter's original themes and motifs in order to fit the darker, grittier, and more contemporary atmosphere of the films. His breakthrough into the mainstream arguably came in the early 2000s, when he worked on higher-profile projects like Get Carter, Half Past Dead, and Baadasssss! The 2004 remake of Dawn of the Dead was significant, as he would maintain long-term collaborations with its director Zack Snyder, and writer James Gunn.īates scored four of director Rob Zombie's films, beginning with 2005's The Devil's Rejects. In the meantime, he was a member of the alternative rock Pet alongside Lisa Papineau the band released their eponymous debut in 1996. He began his career in the 1990s scoring low-budget films like Tammy and the T-Rex, The Last Time I Committed Suicide, and Denial. Growing up in Chicago, he relocated to Los Angeles in 1993 to pursue a career in music. He's currently Jerry Cantrell‘s touring/studio member.īiography Early life and film scoring īates was born on June 5, 1965, in Los Angeles, California. In addition, he is also the former lead guitarist of the American rock band Marilyn Manson, and produced its albums The Pale Emperor and Heaven Upside Down. He has collaborated with directors like Zack Snyder, Rob Zombie, Neil Marshall, William Friedkin, Scott Derrickson, James Gunn, Chad Stahelski and David Leitch. Much of his work is in the action and horror film genres, with films like Dawn of the Dead, 300, Sucker Punch, Halloween I and II, and the John Wick franchise. Tyler Bates (born June 5, 1965) is an American musician, producer, and composer for film, television, and video game scores.
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