Tyler Bates Scores

By: Brett Merle

Wednesday April 09, 2008

Tyler Bates is the mastermind behind contemporary soundtrack scores like 300, Grindhouse, and most recently Doomsday. Extremely passionate about his profession, Tyler spent time in Chicago as a youth, absorbing all types of music.

In this way, he began his musical adventures as many of us do; but Tyler was something extraordinary. Even in his youth he was able to enjoy and understand the complexities of classical and jazz. He carried this love into the rock bands he played with, never forgetting the scope of music.

When he moved to L.A., Tyler began working on some of his first soundtracks. He eventually left his profession as a rock band musician to persue the culimination of his fervor: film scores. Now Tyler Bates brings novelty to his soundtracks, something uniquely different yet classically inspired.


Brett Merle: As a youngster in Chicago, what kind of classical and contemporary music were you into?

Tyler Bates: I was exposed to an extremely diverse range of music early on in life mainly through listening with my mother. She was an avid music enthusiast with good taste! She bought several albums each week by artists of all genres except country-western. LOL I listened to a fair amount of jazz and rock. Mingus and Coltrane were always my jazz favorites. I did listen to a ton of progressive rock and jazz as well, from Frank Zappa to Kraftwerk to Yes and King Crimson. There are too many to name. I always loved Sly and The Family Stone too! As a "youngster" Tchaikovsky made a large impression on me; probably because of the canon blast in 1812. Schubert has become a personal fave as I have gotten older.

Did the LA music scene influence your creativity during your early film scores?

I can't say that it did.

Your band ‘Pet' was successful in it's own right, how would you describe this experience in relation to the work you're doing now?

You are rather liberal in using the word "successful." *laughs* Actually, in many ways we achieved most of what I would have hoped to achieve – short of selling lots of records and making money! Since I was usually the person in my bands to write and produce our music as well as book live shows and whatever else, it taught me to take action if I wanted anything to happen. I still have so much to learn about music and the film business, but I can say the successes I have had thus far have been from working very hard at developing my talent as well as being tenacious in my pursuit as a film composer.

Get Carter has been described as the modern catalyst to your style as a film composer, why would you or would you not say this is? What about Get Carter punctuates what you do?

Get Carter was a great film for me because it was my second film with director Stephen Kay, who I truly love working with. He encourages experimentation and the joy of creating something. It was an honor to rework Roy Budd's original theme for the film. In addition to that, there was a great deal of ambient textural music that was my first in-depth foray into that world as a film composer.

You have a plethora of cult horror film scores under your belt. Would you consider this your trademark style?

I am thankful to have worked on the films I have to this point. Most of them have provided great opportunity to explore psychological motifs as well as orchestra, choir, and noises of all sorts. There is so much to learn from these films, especially because my directors challenge me to explore new ideas when addressing every aspect of their films. That said, I have also enjoyed the challenge of expressing classic motifs in new ways.

Would you like to eventually expand your work for less familiar kinds of films? Films with very different themes than actions, thrills, and horror?

I am interested in all types of films and storytelling. It is not as though I sit around watching horror films all of the time. My sensibilities naturally lean towards dark material, but I would like my repertoire to expand with each film. It appears that the films I am doing this year will present new challenges as well as expand the scope and style of movies I have become known for.

Every composer is only as good as the people around him, is there anyone in particular that you really enjoy collaborating with? That brings the best out of you?

One thing I have learned over the years is that the best results come when you work with great people. Each director I work with is very positive in the way they communicate their ideas in collaborative situations. There is no doubt that anyone who works with Zack Snyder becomes better at his or her craft when the project is completed. He really challenges me to see the potential in what things can become. It's very exciting as an artist and film composer. It doesn't hurt that his films are aesthetically very enticing.

What do you feel is more important, to score your films in accordance to its visuals or in accordance to its underlying themes?

There are many factors to consider as to what motivates and influences the creative process with each film. I tend to approach film scores from a textural viewpoint initially. I like to make sure the "sound" of the score suits the specific actors in a film. Once that is established, and the director is into it, I begin working out the various motifs and themes for the film.

Are you currently working on any projects that you are willing to disclose information on?

There is much to do with my current projects before I discuss them!

Do you have any future ambitions we might be surprised to hear about?

It sounds rather cliché', but I would like to write a book in a few years, once I have a bit more sage experience in life. I am most interested in learning more about music and becoming better at what I do as a composer and music producer.


Thinking about this Q&A session with Tyler Bates, I realize two things: Tyler is a very intelligent pereson and he is very ambitious. He knows music and he knows how to manipulate it in such a way that it almost quite literally speaks. He is articulate and is very aware of his abilities. Maybe its just me, but I think that his ability to artistically communicate goes beyond just music and he would make a great author.