For “Captain America: Brave New World”, director Julius Onah wanted his entry into Marvel Cinematic Universe to be rooted in the world by a political thriller.
Movies like “The Day of the Jackal”, “Le Samouraï” and even “The Killing of a Sacred Deer” were among some of his inspiration. Composer Laura KarpmanWho is not a stranger to MCU, after getting “The Marvels” and “Think about?”, Drew from experience. “There was a clue from ‘Ms. Marvel ‘who goes over the train sequence, it starts and continues, and I thought’ I want to do it ‘, I want to write a piece of music that starts the steam roll and keeps it going,’ she says.
Karpman urged New Orlean’s drummer. “I put them in a room without music, only the rhythm, and one of the rhythms ended as the conspiracy music. The whole thing is this combination of this New Orlean’s drum line that you would never know was a New Orlean drum line, and then this classic, a classic slash classic thriller music with very tight strings and counterpunts, she says. The fusion of sound would be the point for the score.
In the film, Anthony Mackie’s Sam Wilson plays Captain America and is found to try to find out who is behind President Thaddeus Ross’ (Harrison Ford) attempted murder. When Ross tells the new lid to reassemble The Avengers, it is discovered that he is taking gamma -saddened pills, and when he is angry, he turns into Red Hulk.
All in all, four themes anchored the film’s points: the conspiracy music, the hero’s theme that represents the edginess of Sam’s nature in this moment, but also has the heart of Joaquin (Danny Ramirez) and for Isaiah (Carl Lumbly), Samuel Sterns (Tim Blake Nelson) Tema and Ross’ theme.
Karpman wanted to write something that was almost president for Ross, but “not hot.” She says: “There is a cold edge for it because you also don’t know what happens to Ross … The only thing you really know about him from the beginning is that he misses his daughter and he regrets that they fall out.”
His management develops from simple coral music, but when the audience starts to gain a clearer insight into President Ross, “when you come to the Hulk stuff, there will be great ass monster music. The choir comes out and sings, she says.
The music behind “Captain America” is a family business for Karpman-Henne’s partner and wife Nora Kroll-Rosenbaum is credited for further music, while niece Kailly Karpman wrote the driving texts. Karpman explains that the driving texts are based on “Deus Irae”, the science-fiction novel by Phillip K. Dick who translates as God’s anger. Says Karpman, “She took these words and manipulated them to bind close to what happens the story.”
Stern’s music also has a family connection. His theme consists of strange synths. Karpman reveals, “I used my mother’s analog radio in it, just spun around (the wheel) and got the strange sounds – it seemed perfect to that character.”
