MCU’s Best Score? You Won’t Believe Who Made Thunderbolts* Music!

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The movie titled “*Thunderbolts*” (now possibly referred to as *New Avengers*) seems like the most independent film Marvel Studios has produced so far. This is due to the film’s intimately focused story on characters, exceptional art design, and limited number of heavy, CG-filled battles. It’s easy to overlook that you’re watching the 36th movie in the ever-expanding Marvel Cinematic Universe, which is a positive aspect – as Phase 5 of the MCU may risk dwindling returns for the trailblazing studio, *Thunderbolts* offers a refreshing boost.

Similarly, the musical score of the movie, penned by Son Lux (from Everything Everywhere All at Once), follows suit. The Marvel Cinematic Universe often employs top-tier composers, but it was this avant-garde band that delivered a score that subtly veered into uncharted territory. It’s a clever match for a movie with a similar innovative spirit, and it’s not surprising that Son Lux collaborated with Jake Schreier (Thunderbolts director) well before composers usually get involved in their projects.

In a conversation, ScreenRant chatted with Son Lux’s trio – Ryan Lott, Ian Chang, and Rafiq Bhatia – regarding their courageous approach to *Thunderbolts*. They shared insights on joining the project during script development, how their music influenced the final scene of *Thunderbolts*, and the symbolic role two abandoned wooden planks played in shaping the score’s essence. Additionally, they expressed their thoughts about potentially scoring *The White Lotus* season 4.

Son Lux Brings Much-Needed Indie Flair To The MCU

The Band Was Tasked With Bringing “Something Fresh To The Universe”

As a film enthusiast, it was thrilling to witness Everything Everywhere All at Once, the 2023 Academy Award Best Picture winner, as my first movie scored by Son Lux as a band. This film started out with a bold independent script and eventually transcended into a blockbuster hit. On the other hand, Thunderbolts was mainstream from its inception. When questioned about our role in scoring this Marvel Cinematic Universe production, drummer Ian Chang remarked that indeed, our mission was to imbue the mainstream with an indie vibe – a perspective I find intriguingly accurate.

Son Lux was recruited to score “Thunderbolts” due to a pre-existing bond between director Jake Schreier and Ryan Lott, one of the band’s founding members. Schreier tasked them with creating a Marvel film that maintained the classic MCU feel while also exploring new ground and offering a unique perspective. He wanted them to push the boundaries and bring something fresh to the universe through the music. It wasn’t just the composer’s duty to find something new, Chang explained; other departments were also challenged with this task.

In this project, the band was given an unusual goal: to avoid typical superhero film music themes. Guitarist and producer Rafiq Bhatia detailed their strategy for achieving this: “From the beginning, our task was quite different, which was that these characters and their story are grounded and realistic.” The main challenges for the band, as Bhatia pointed out, were finding ways to make the score subtle and focusing on intimate moments.

Bhatia remarked, “Is there an entity within the MCU that remains tangible yet diminutive, providing a sense of earthly realism? This would serve as a contrast to the grandeur of the universe’s vastness.” He further added, “While moments can be massive, having something minute in comparison allows the immense to truly feel immense.

Thunderbolts*’ Music Shaped The Pace Of The Movie

Son Lux Had A “Formative Experience On The Ground Level”

In most movie production, music is usually considered later, with composers joining the team towards the end of a lengthy process that spans over a year. However, for Son Lux on Thunderbolts, this wasn’t the norm. This is why their music harmonizes so flawlessly with Jake Schreier’s film; in fact, it could be argued that the film and the music influenced each other reciprocally.

One aspect we appreciated about this method was that we could shape things significantly at an early stage, Lott mentioned. “We were part of the project from its inception,” he added. This was also true for the band during their work on “Everything Everywhere All at Once.” In both situations, having input on the musical score influenced other creative choices throughout the development process. “We were given the opportunity… to have only a script and the director’s vision,” Lott explained.

Discussing the process, Lott explained how it’s advantageous to plan the film’s music and cinematography together. This way, the editing team can benefit from custom-made music that guides their choices, and sometimes, the choice of music can even influence the speed at which shots are taken during filming, which is quite remarkable. He added, ‘Some of our musical decisions actually affected the pace of shots. That’s quite fascinating. It’s really enjoyable, and it certainly boosts one’s ego.’

Ryan Lott also disclosed instances where the movie’s narrative was synchronized with Son Lux’s music: “Toward the end of the film, there is a climactic scene where the characters unite. As this sequence develops, distinct musical moments occur for each frame, and these were carefully coordinated to a song that was included in the original soundtrack played by Jake during the initial cast reading session.

Intriguingly, Son Lux’s initial method often left them unsure about where their compositions would be featured. As Lott explained, “A lot of what we did was pre-composed, and the decisions about where that music would be placed were not entirely within our control.” However, Son Lux retained the final say on where their music was utilized. Occasionally, certain musical segments came as a delightful surprise to the composers: “The scene where Bob flies up into the sky – that piece of music fits so perfectly. We didn’t create it specifically for that moment… but it syncs up with the beats and other elements really well.

Thunderbolts* Has A Trash Score–Literally

Discarded Planks Of Wood Became Instrumental To Son Lux’s Compositions

In the initial storyline of “Thunderbolts”, the plot revolves around an attempt to get rid of its main characters, which aligns perfectly with the fact that some of the film’s core musical instruments were salvaged from a trash bin. As Jake Schreier explained, he wanted the music to contrast traditional superhero themes, aiming to create a more earthy and personal feel, even for the action-packed scenes towards the end.

Chang went on, explaining, “At my workplace, they’d deliver goods on wooden pallets. Once the deliveries were completed, there were two pieces of wood by the front door, waiting to be discarded. Impulsively, I tapped them and realized they had a unique sound that could work well as percussion for this movie. I recorded various rhythms from it, and surprisingly, it became one of the main percussive elements in the film’s score.

Lott commented, “I appreciate the way… whoever postponed moving those pallets to the dumpster seemed to say, ‘I’ll get around to it later’,” before Chang explained, “It wasn’t the day for trash collection. That’s all it was. I might have overlooked it if it wasn’t the correct day.

Lott playfully remarked, “I’ll place these here,” implying that they would stand out like a primary color in a Marvel film’s soundtrack.

In addition to the unusual instruments like thunderbolts and wooden planks, there were more unique elements in the musical score. Moreover, Ryan Lott is reported to have used various kitchen utensils such as pots and pans, tapping out rhythms on them, contributing to the film’s distinctly non-Marvel Cinematic Universe soundscape as described by Chang.

Son Lux Reflects On Thunderbolts* Similarity To Everything Everywhere All At Once

The Films Share A “Very Core Fragility”

caution: The final act of “Thunderbolts*” isn’t as massive as the battle in “Avengers: Endgame“. Instead, it resembles more the style of Son Lux’s latest work, “Everything Everywhere All at Once.“. When asked about this similarity, Ryan Lott mentioned that it was a delicate scene, both in execution and design. He made the connection eventually, but it wasn’t until deep into the process, and there were no references used.

Regardless of the coincidence, Lott expressed, “Both the movies we’ve been fortunate enough to work on share a fundamental vulnerability that reflects our humanity. They underscore the importance of relying on one another, which is a message especially relevant today.

Lott went on to explain the deep connection he feels for the story of Thunderbolts, a key factor in why it seems like a fresh endeavor within the Marvel Cinematic Universe. He described the film as delving into difficult experiences faced by its characters, but more importantly, he said, “‘It’s not merely traumas. What makes it intriguing is the element of disillusionment. The complexity lies in the fact that it encompasses various aspects, including disappointment, which is why these characters are captivating. They are multifaceted.’

Lott noted that what were supposed to be their virtues instead turned into their flaws, and he believes this is a very relatable human situation.

Son Lux Can’t Wait To Hear Sentry’s Theme Return

“It’d Be Pretty Cool To Hear That Theme Again”

Son Lux is now part of the Marvel Cinematic Universe (MCU), meaning their music could potentially appear in any upcoming films. When asked about which theme they’re most eager to hear used in the future, Lott replied, “It’s an intriguing question because there were moments where we hinted at references in a few scenes. Questions about connection and adherence to tradition are quite significant. Fortunately, these weren’t our main concerns, and I believe we benefited greatly from being freed of that pressure as Jake aimed to create a film that could stand independently.

Lott commented, “The melodies used in this movie had to fit perfectly.” He further noted, “Creating a theme for Sentry was an exciting experience. If Sentry reappears, it would be great to hear that theme again. I hope the composers who will create that theme are as fortunate as we were, and get the chance to do it themselves.

Should Son Lux Score The White Lotus Season 4?

They’ve “Definitely Thought About It”

Frequently, composers don’t make headlines, but the recent feud between Cristobal Tapia de Veer, the composer for “The White Lotus,” and showrunner Mike White has garnered attention from even casual TV viewers. The future of “The White Lotus” may be uncertain for a while, as there seems to be no resolution in sight between de Veer and the production team. If they can’t reconcile, it appears that the series will require a new composer. However, due to the unique nature of de Veer’s music, the pool of potential replacements is limited.

According to this author, Son Lux is one of the names considered for the role. When inquired about the prospect of assuming the position, Lott expressed, “That’s an intriguing query, as I’m a big fan of that series… I’ve definitely pondered over it.

Bhatia expressed his initial thoughts, saying, “When you ask that question, it feels like facing a challenge. Interestingly, this is how my other two projects began as well. Perhaps there’s a connection there.

Lott commented, “There are indeed some resemblances between the MCU. To create something fresh yet respectful of what’s already been established – that’s quite a task, given how unique and perfect the original was.

Thus far, Son Lux has managed to score two successful projects. Would you like to know Son Lux’s thoughts on ‘The White Lotus’? Share your thoughts in the comments below.

Check out our other Thunderbolts* interviews:

  • Thunderbolts* red carpet
  • Florence Pugh
  • Jake Schreier
  • Julia Louis-Dreyfus & Geraldine Viswanathan
  • Wyatt Russell & David Harbour
  • Lewis Pullman & Hannah John-Kamen

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2025-05-05 23:49