For composer Christophe Beck, the favorite piece of work he did for Ant-Man and the Wasp also happens to be its emotional high point.
“Of my favorite things to do in my job is to make people cry — in a good way of course,” he tells Heat Vision. “It’s the emotional bits that feel the most rewarding when they turn out well.”
Though the film has already opened, Beck is careful not to share any spoilers. But those who have seen it should be able to get the gist of what he’s referencing when he talks about his favorite piece of music in the film. (This can give you a hint.)
“There’s a moment toward the end of the film where a couple of the characters get together and have a really special connection that you didn’t really see coming and the music in that part is some of my favorite in the whole score, just because it’s that emotional, dramatic stuff that I like to see people get a little bit welled up when they hear,” says Beck.
One of the big challenges for Beck with the sequel to Ant-Man was an ambitious segment in the film’s third act that’s not only a massive car chase, but also cuts back and forth to a special mission starring Hank Pym (Michael Douglas). Up until that point, he’d penned the score similar in the style to what he did on the first Ant-Man, describing it as “pretty traditional, pretty orchestral.”
“But when we got to that point in the film, we realized at a certain point that it became this sort of onslaught of orchestral fireworks that made your ears fatigued. At that point was when we realized we just need to make it a little more pure fun and a little bit less bang, bang, boom,” he says. “That’s when we started bringing in some more contemporary sounds, like drumbeats and baselines — and not in ’60s and ’70s way we did in the first Ant-Man, but a more pop contemporary sound.”
Cutting back and forth between the two missions made it particularly challenging.
“That was definitely a lot of trial and error. It was difficult too, because you can’t really tell if you are doing a good job until you sit down and watch the whole sequence,” he says. “Of course, while I’m working on the score, I’m really focusing on one sequence at a time.”
Beck worked with director Peyton Reed on the first Ant-Man, but their relationship dates back to the 2000 cheerleader comedy Bring It On, which was the first feature for both of them.
“When we started working on the first Ant-Man after like a 15-year hiatus of not working together, it really felt like that 15 years didn’t even happen,” he says. “Peyton really loves music, he really loves the process. He’s a musician himself and he’s just a real source of positive energy, so getting back together after such a long time apart for the first Ant-Man really felt completely natural.”