Today’s event was among the most enjoyable in ages. Disney asked if I would moderate a panel of its composers for comic-book and mythical-universe films and TV shows, and I was delighted — especially when I heard who the panelists would be: Tyler Bates (Guardians of the Galaxy), John Debney (Iron Man 2), Kevin Kiner (Star Wars: The Clone Wars) and Brian Tyler (Iron Man 3, Thor: The Dark World, Avengers: Age of Ultron). This was at WonderCon in downtown L.A., and the fun stories included George Lucas’ involvement with the animated series, Marvel vs. DC Comics adaptations, Marvel’s penchant for secrecy, the role of orchestra and strong themes, and much more. Wish we’d recorded it for posterity!
Yesterday was a fun day at the Directors Guild of America building on Sunset: The Production Music Conference invited me to collaborate with composer Brian Tyler on a “keynote address” that was really more of a Q&A about his music and his career. We opened with a spectacular five-minute montage of his big movie scores (including Avengers: Age of Ultron, Iron Man 3, the Fast and the Furious franchise and others). The Q&A was wide-ranging, covering his rise from small indies to huge studio films; his love of drumming and piano, which he still does himself on many scores; and how he runs his business. About 300 composers and music publishers attended.
… a headline I liked, for a change. This was a really interesting topic thrown me by a Variety editor: How has the music of comic-book movies changed over the years? Can you still do what John Williams did in Superman in 1978? Or does the music need to reflect the darker tone of many contemporary superheroes? Hans Zimmer, Brian Tyler and Marco Beltrami were some of those I interviewed on the subject.