Avatar Fire and Ash Composer Simon Franglen Reveals The Secrets Of Making The Score As Immersive As The Visual Effects [Exclusive]

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Avatar: Fire and Ash is the third film in the Avatar series, and it maintains the distinctive style and creative vision of director James Cameron that made the first two movies so memorable. Simon Franglen, a seasoned Hollywood composer who previously collaborated with Cameron on films like Titanic, created the film’s score. His music aims to evolve the series’ sound while still capturing the unique environments and cultures depicted in the movie.

Working on Avatar: Fire and Ash was a really special experience for me, and it became even more rewarding as I got to really inject my own style into the music. I recently spoke with ComicBook about what it was like collaborating with James Cameron – it’s all about finding that sweet spot between beautiful music and the incredible scale of the Avatar films. The goal was to make the music feel just as immersive and all-encompassing as the amazing 3D visuals.

You’ve collaborated with James Cameron on multiple films, including all three Avatar movies, and have worked with many other directors throughout your career. What specifically sets James Cameron apart as a creative partner?

Simon Franglen believes Jim’s dedication is what truly defines him as a filmmaker. While many directors claim to be detail-oriented, Jim takes it to an extreme. He’ll notice and question even the smallest changes, like a slight adjustment in the volume of French horns. During the ‘spotting’ process – where the director and composer decide where music will be placed – Jim meticulously discusses every single scene.

I traveled to New Zealand to spend time with him, and for three days, we completely immersed ourselves in reviewing the film. It was a period of total concentration – the phone didn’t ring once, and there were no interruptions. No one bothered him with urgent matters. He gave the project his undivided attention, and I mean truly 100%. He applies that intense focus to everything he does. I always knew where things stood. While his priorities might shift, when he commits to something, he’s fully present. The challenge is that he often has multiple projects demanding that same level of focus, so sometimes you have to be patient and wait for him to be able to turn his attention to your specific needs. He approaches visual effects, acting, sound design – everything – with that same dedication.

Some directors give minimal direction, simply asking you to ‘fill things in.’ Jim is different; he pays incredibly close attention to every detail, which is why the music for this film was created specifically for it. I didn’t just compose a collection of songs and then piece them into the movie. It’s not background music meant to simply blend in; it’s a carefully crafted score designed to enhance each moment.

He wants the music to align perfectly with every moment of the film – all three hours and fifteen minutes of it. Every musical cue is carefully designed to match what’s happening on screen, and he insists on everything being custom-made to his exact vision. I believe he deeply appreciates the power of music in filmmaking, recognizing its ability to evoke emotion and create a subtle, underlying feeling. I think film music, when done well, doesn’t tell you what to think, but rather helps you feel something. That’s a key difference, and Jim really gets it.

Looking back at the first two Avatar movies, what were the most important things you learned that you wanted to include in this new film?

Jim wanted this movie to feel different – much darker and more emotionally complex than previous films. It explores themes of grief and a strained family dynamic, which were new territory for the series. The focus was on portraying a family simply trying to survive, requiring a balance between emotional depth and a stark, realistic tone. We had a lot of conversations about how much emotion to convey. The Avatar films have a very distinct sound – instantly recognizable. That unique sonic identity wouldn’t fit in a Star Wars or Marvel movie. Avatar truly has its own world and atmosphere. On the first Avatar, I worked with James Horner and was in charge of creating the non-orchestral textures and sounds.

I was in charge of creating the unique soundscape – the feeling of the forest – with its distinct rhythms and textures, including the use of synthesizers, for the first film. I carried that same approach into Avatar: The Way of Water. It’s similar to how generations change – a child doesn’t look exactly like their parent, and a grandchild is different still. But they share the same underlying DNA. You can still see family resemblances, but with natural variations.

With Way of Water, we introduced a lot of new ideas, including a strong focus on family. James Cameron asked me to create a score with more recurring themes, unlike the first film. The original score relied on textures and beautiful melodies, but each piece was only used once. For example, the music during the climb to Iknimaya in the first film was gorgeous, but it didn’t reappear. This new score will be different, using and repeating themes throughout the movie.

While working on Avatar: The Way of Water, Jim decided the story needed a central family theme. It actually started with the chords for a song written for Zoe Saldaña and grew from there. He realized the movie needed a powerful, memorable piece of music, like the ‘Imperial March’ from Star Wars. That piece, called ‘A New Star’, appears in the film and has a strong, militaristic feel. The villain, Quaritch, also has his own musical theme, reflecting his complex and troubled character.

Quaritch is a more complex character than people realize, and I’ve always wanted to suggest that depth in my work. I developed a central musical theme, titled “The Future and the Past,” and it’s performed by Zoe Saldaña on the album. Originally, there was a scene in the film featuring this theme, but it didn’t make the final cut. I still really loved the music, so I included Zoe’s recording on the album to give listeners some context and to showcase her beautiful performance.

In Fire and Ash, you really see the characters develop. The story explores both their pasts and what’s to come, with the idea of a ‘new future in the past’ becoming a central theme – it was actually a lyric I wrote for a song performed by Saldaña. We’ve also expanded the musical themes, giving Kiri her own distinct melody, beautifully played by Alyssa Park. Lo’ak, who narrates the story in Fire and Ash, now has his own theme as well. And that’s not even mentioning the music for the wind traders and the Ash people!

I really layered the colors in this piece. For example, with the ‘Wind Traders,’ I aimed for a grand, adventurous theme reminiscent of classic 1930s swashbucklers. If you can’t create something epic for a massive galleon trailed by glowing creatures, then when can you? I’m hoping there’s still an audience for truly epic movie scores. A lot of scores today are either very simple or focus on creating atmosphere through sound design. I’d like to think my score offers that classic, large-scale feel, and it might be one of the few like it this year.

What were some of the bigger challenges of the film?

Creating the sound for ‘The Ash’ was a unique challenge, as the concept revolves around a destructive force. My initial attempts with guitars didn’t feel right. I drew inspiration from my time in Inner Mongolia a decade ago, where I collaborated with musicians and discovered the Morin khuur – a traditional two-stringed Mongolian instrument known for its raw energy and intensity. I decided to build the sound of ‘The Ash’ around this instrument, prioritizing feeling over melody. I wanted the music to convey the idea of a spreading, destructive influence. The result is very rhythm-focused, almost entirely drums, and harkens back to my childhood fascination with punk music and the energy of the punk scene I used to observe.

I recall a large, abandoned building in central London – a squat – filled with people who felt forgotten by society. The people of the Ash have a similar feeling; they believe Eywa has abandoned them after the volcano destroyed their home, leading them to reject the wider world. This reminded me of my youthful connection to punk culture and its energy, and I wanted to capture that same spirit.

What I really wanted to capture was the feeling of these creatures. They weren’t simply malicious, but driven by a desperate need to share—or rather, inflict—their inner state on everyone. It was a destructive impulse, pure and simple. And the sound of the Morin khuur—that horsehead fiddle—was central to that. It had this raw energy, almost like distorted electric guitars, but with a completely different texture. I layered in electric cellos, and sometimes violas, to add depth and color when needed. Ultimately, that unique sonic landscape defined the Ash and gave us a really broad palette to work with throughout the film.

What would you say were the biggest surprises of Avatar: Fire and Ash?

Creating music for action sequences requires a lot of attention to detail. It’s easy to overdo it and distract from the scene itself, so I focus on building the music carefully to avoid overwhelming the audience. I don’t just reuse existing pieces; I meticulously craft the tempo and key of each moment to make sure it feels impactful. I’m really pleased with the action score in this project – it’s more intense and direct than my previous work.

I want to give a special thanks to the sound mixers. We aimed for a more immersive sound experience because Atmos audio is now widely available in cinemas. Just a few years ago, I couldn’t be sure a theater would have Atmos capabilities, but with films like Avatar: Fire and Ash being shown, I’m confident most will. This allowed me to experiment with the music, making it as immersive as the visuals. You’ll notice the sound actually moves around you, which is a bit of a risk, but I think it really enhances the experience.

I also work on custom audio projects as a hobby, which led me to experiment with the sound design for this film. I hope when you see it in the cinema, you’ll notice how we’ve really pushed the boundaries of what’s possible with sound to create a truly immersive experience, where the music feels like an integral part of everything.

What really struck me was how the sound design could draw the audience deeper into the scene, creating a feeling of being inside the image. Jim’s approach to 3D isn’t about objects jumping out at you; it’s about pulling you in, and I wanted the music to enhance that. As someone passionate about 3D audio, I believe it achieves two key things: complete immersion, and the ability to create a more impactful and thematic musical score.

One of the biggest challenges when composing music for a film is making sure it doesn’t interfere with the dialogue or sound effects. My approach allows the music to be heard clearly without overpowering the other sounds.

Avatar: Fire and Ash is now playing in theaters.

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2025-12-19 18:45