Stuart Michael Thomas has amassed over 100 feature film and television credits during his time in Hollywood. These include writing additional music for international blockbusters such as Mission Impossible: Dead Reckoning, Bad Boys: Ride or Die, Top Gun: Maverick, Iron Man 3 and The Hunger Games.
Stuart takes center stage with his score for ‘THE CUT’ at #TIFF24. In an exclusive interview with Usha Pudukkotai, he offers a behind-the-scenes look at his musical journey. Discover the insights in the following excerpts:
- With several feature film and television credits, how has your approach to composing evolved over the years in Hollywood?
Over the years, my approach to composing has evolved through a lot of experimentation at home, playing around with sounds, and exposing myself to diverse musical influences. Sometimes, listening to music from different cultures or even ancient music can inspire me in unexpected ways. This helps keep my creative process fresh and innovative.
- You’ve worked on some of the biggest blockbusters in recent years, including Mission Impossible: Dead Reckoning and Top Gun: Maverick. What is it like to contribute to the music of such high-stakes, action-packed films?
Working on high-stakes films like Mission Impossible and Top Gun: Maverick is always thrilling. These movies have such a global reach, and it’s exciting to contribute to something that captivates audiences worldwide. The experience is entirely different from working on smaller, more introspective films, but both types of projects are rewarding in their own ways.
- When working on additional music for a major franchise like Iron Man or The Hunger Games, how do you ensure that your contributions align with the established musical identity of the series?
When I’m part of a team working on major franchises like Iron Man or The Hunger Games, the lead composer sets the tone. My role is to align with the established musical identity, and I do that through extensive research, studying past themes, and understanding the characters’ motivations. This ensures that my contributions blend seamlessly with the existing score.
- Given the diverse range of films you’ve worked on, from Bad Boys: Ride or Die to Iron Man 3, how do you adapt your style to suit different genres and directors’ visions?
Adapting my style to different genres and directors’ visions is a process that involves a lot of research. I critically listen to how music has been arranged in the genre, understand what parts of the orchestra or synths are being used, and then figure out how to stay true to that while also bringing something new to the table. It’s all about learning from the past and applying that knowledge in a modern context.
- Can you walk us through your creative process when composing additional music for a large-scale production? How do you collaborate with the primary composer and the film’s director?
When I compose additional music for a large-scale production, I collaborate closely with the lead composer and the director. My process involves a lot of research and understanding where the characters have been and where they’re going. This allows me to create music that aligns with the film’s established identity while adding something new and meaningful.
- How do you balance maintaining your unique musical voice while contributing to projects that may already have a strong existing score or musical theme?
No matter how much I try to adapt to an existing theme, my unique musical voice naturally comes through in my work. Over the years, I’ve noticed that the way I play a brass chord or use horn lines, for example, has certain characteristics that are distinctly mine. It’s like how you can immediately recognize a John Williams or a Hans Zimmer score—every composer has a voice that bleeds through, even when we’re trying to homogenize it.
- Amongst so many genres of music-country, pop, hip hop, jazz what type of music appeals to you the most? What’s your personal favorite?
I’m a rock guy at heart. Growing up, I wanted to be Sting—he was the coolest rock star, though I didn’t have the high cheekbones or the voice, so I focused on getting better at guitar. That said, I listen to everything, from jazz at dinner to classical music in the car. But rock has always been my favorite.
- Looking ahead, are there any upcoming projects or new genres that you’re excited to explore in your future work?
One of the projects I’m particularly excited about right now is a documentary for Netflix about the footballer Eric Cantona. It’s fascinating to explore his rise and fall, and how his personality, both on and off the field, impacted his life and career. It’s a project that stands out to me because of the complex character study it offers.
Any advice for aspiring newcomers to this industry?
The industry is a war of attrition—you’ve just got to hang on. I’ve seen so many talented people come and go, some who I thought were better composers than me, but they gave up too soon. My advice is to focus on your own path, keep creating music that’s better than what any AI can generate, and don’t lose sight of the bigger picture. It’s also important to take a step back now and then to enjoy life outside of music—this keeps you grounded and ensures that you don’t burn out.
