Join superstar composers John Murphy and David Fleming as they dive into their groundbreaking collaboration on James Gunn’s Superman. John shares how his electric guitar, affectionately named Ned Flanders, shaped the emotional essence of the score, while David reminisces about their journeys from humble beginnings to working with legends like Hans Zimmer. They also debate the quirky squirrel rescue scene, discuss their unique approach to modernizing Superman's classic themes, and ponder what it means to embrace campiness while staying authentic.
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Accidental Start in Film Scoring
John Murphy became a film composer by accident when a low-budget movie couldn't afford one.
He bought a book ‘How To Write A Film Score’ but ended up not reading it, learning mostly by doing.
question_answer ANECDOTE
Winning Path Into Film Music
David Fleming won a BMI competition that launched his film composing career.
He interned and made ringtones before breaking into film through Remote Control Productions with Hans Zimmer.
volunteer_activism ADVICE
Simplify for Universal Use
Write themes from riffs and hooks that translate well across contexts.
Simplify your music to its essential parts to make it more universal and usable.
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Superstar composers John Murphy and David Fleming finally enter the same room (you read that correctly) after an unusual but groundbreaking experience co-composing the score for James Gunn’s SUPERMAN. How John’s electric guitar-focused approach (he writes themes on a zany guitar he named Ned Flanders) harnessed the majesty of John Williams’ iconic theme — and why the trailer debut was nerve racking to see if the world would accept his “version” of it. Also, how his precious guitar themes (28 Days Later, Sunshine) helped prep for how to treat this film with the sound needed. David and John discuss their breakthroughs in film composing — an internship leading to working with Hans Zimmer on The Lion King. Blue Planet II and Top Gun: Maverick — and a book titled “How To Write A Film Score” which was promptly discarded for a few pints. The duo also discuss their unique place in the massive re-launch of the DC Universe’s first film — tonally a new direction that called for embracing the campiness a little more, but also the authenticity. How John’s music was critical to filming, and later how David navigated a final push to expand the film’s musical scope thematically. Also, Squirrelgate. Interview by Kenny Holmes and Matt Schrader at Igloo Studios in Burbank. Special thanks to the team at Igloo for making this episode possible!Score: The Podcast is presented by Vienna Symphonic Library. Check out Vienna Symphonic Library’s collection of innovating libraries and samples — including their flagship Synchron Series, recorded at Vienna Synchron Stage, where hit films and shows for HBO, Disney, Star Wars, Marvel, and many more are recorded. Check out Synchron Duality Strings libraries, or check out the free sample player, freebie libraries and demos at http://vsl.co.at. To learn more about recording at Vienna Synchron Stage, visit http://synchronstage.comVideo Timecodes0:00 ‘Superman’1:39 John Williams’ Theme4:09 Show Open5:06 Vienna Symphonic Library7:02 “How To Write A Film Score”9:10 David’s start with Hans Zimmer12:00 John’s start with Guy Ritchie and Danny Boyle14:00 ’28 Days Later’ Theme Re-Use17:24 ‘Sunshine’19:45 Building from an existing theme22:40 Back part of the Williams theme23:50 John’s early music & James Gunn29:00 David onboarding ‘Superman’32:15 Score vs. record tracks34:00 Finding the tone40:40 Deadline to finish43:10 Sacredness of John Williams’ theme45:20 Trailer release hype47:56 Guitar’s American influence49:54 Ned Flanders52:00 Squirrel rescue & Squirrelgate55:45 Three things1:02:00 Ennio Morricone’s brilliance1:07:40 VSL Synchron Series1:09:26 VSL ‘Forrest Gump’ Demo
Score: The Podcast 
