#Thor ragnarok song movie#
I was like, “Who would think of that?! That’s a really brilliant idea!” It made me curious because I’d seen the vampire movie ( What We Do in the Shadows) that he was in. I went and saw a movie called Hunt for the Wilderpeople, and I was blown away with the musical choices juxtaposed against the visuals, where the visuals were so lush and green and the music was all ‘70s French minimalist arpeggiated music. This film, particularly, what happened was that the timing was just right. Animation is usually easy for me because I love animation and I love cartoons. It could be something that appeals to you on all different kinds of levels. MOTHERSBAUGH: Any of those things could be what make you interested in something. What gets you to say yes to a project? Do you have to just feel like you have something to bring, musically, to the story that’s being told, or is it about who you’ll be working and collaborating with? The cycle of one year got reduced down to one week, and I said, “Sign me up for this job!” I became totally excited about working in film and TV, and that’s how it started. On Friday, they mixed them into the show, on Saturday, I watched it on TV, and on Monday, they’d send me another tape. When I started doing Pee-Wee’s Playhouse, they sent me a tape on Monday, I wrote 12 songs on Tuesday, I recorded them on Wednesday, and then I mailed them back to New York on Thursday ‘cause I was and there were no internet transfers in those days. I’ve been writing 12 songs, you rehearse and record them, you rehearse a show, make a video, go out on tour for a year, and then you come back and write 12 more songs the next year.
#Thor ragnarok song tv#
When it started to fizzle out, my friend Paul Reubens called up and said, “Would you score my TV show?,” and I did. I was a visual artist, and then I got in a band and we had a lifespan. MOTHERSBAUGH: Yeah! I was in a band (DEVO). You’ve been pretty busy, as a composer, and you’re all over the map with projects, from live-action to animation to LEGO movies, and you work in film and TV and in video games.
You’re going, “I saved this movie’s butt!,” but nobody knows that. It’s very nice ‘cause lots of times, people don’t even notice the score. MOTHERSBAUGH: Well, I’ve had worse things happen in my career! It’s not so bad. What’s it like to hear that people are noticing and talking about how great the score is?
MARK MOTHERSBAUGH: Oh, wow, that’s great! The creator of the band DEVO has spent years scoring everything from Pee-Wee’s Playhouse and Rugrats to The LEGO Movie and multiple films for Wes Anderson, before jumping into the Marvel Cinematic Universe and leaving his own stamp of creativity on the world of Thor, for director Taika Waititi.ĭuring a press day at Marvel Studios to discuss some of the behind-the-scenes aspects of the Thor world, Collider got the opportunity to sit down with Thor: Ragnarok composer Mark Mothersbaugh for this 1-on-1 interview about how he got into composing music for film and TV, what attracts him to a project, how he first became aware of the work of Taika Waititi, that the original script was even wilder than the finished film, how Marvel is different from other movie studios, and whether he’d be game to work with Marvel again.Ĭollider: People are really loving this movie, and one of the things that almost everyone is citing as one of the major stand-outs is your score. Along with the hilarious moments, heartfelt character interaction and big action sequences, one of the most memorable aspects of Thor: Ragnarok is the musical score, from composer Mark Mothersbaugh.