Say what you like about Batman V Superman (Just don’t mention Martha), but that scene where Wonder Woman joined the fray and took the fight to Doomsday? That was glorious over the top cinema stretching its massive budget at its best. Part of the brilliance of that particular scene comes not only from its visuals, but also its audio.
Hans Zimmer and Junkie XL composed one hell of a theme track for Wonder Woman, a combination of heavy metal and classical orchestral arrangements that revealed just how much of a badass Diana of Themyscira really was. Hell I even have that particular track as my ringtone, it’s just damn magnificent. Just don’t expect to hear it in the Wonder Woman movie next month.
According to director Patty Jenkins when she spoke to Empire, Diana’s theme song is the track of a more experienced and seasoned warrior in comparison to the fresh-faced princess that Gal Gadot plays.
The song is slightly more complicated, because that is the song of a very adult and evolved character. I love that track, but we had to embrace it as a different thing. The story is of who Diana grows into being; you can’t just come out of the gate with a song like that for a ten year old.
Makes sense. When you’re looking at music, you’re not just looking at a complimentary feature that you slot into a movie just because it sounds decent (RIGHT MARVEL?). Music at its very best, tells a story, adds a layer to the visuals in front of you and provides the cue needed to move the narrative along. It creates energy and momentum, and providing the right momentum for the right scene is crucial to nailing the flow of how a cinematic experience plays out.
Wonder Woman’s actual score is being handled this time by Rupert Gregson-Williams, so I’m hoping that his soundtrack manages to find the balance between inexperienced warrior and Greek demigod on a path towards the dawn of justice. That would be metal.