Tyler Bates Biography
Tyler Bates is an American musician, music producer, and composer for films, television, and video games. He has done a lot of his work in the action and horror film genres. Some of these movies include Dawn of the Dead, 300, Sucker Punch, and John Wick. He has collaborated with a number of directors like Zack Snyder and Rob Zombie. He is also the lead guitarist of the American rock band Marilyn Manson, and produced its albums The Pale Emperor and Heaven Upside Down.
He began his career in the 1990s and his breakthrough into the mainstream arguably came in the early 2000s, when he worked on higher-profile projects like Get Carter, Half Past Dead, and Baadasssss! The 2004 remake of Dawn of the Dead was significant, as he would maintain long-term collaborations with its director Zack Snyder, and writer James Gunn. Bates scored four of director Rob Zombie’s films, beginning with 2005’s The Devil’s Rejects.
Tyler Bates began working regularly on big-budget, blockbuster films in 2007; including 300, Doomsday among others. He however did not stop working for the small budget films. In 2014 he composed the score for Guardians of the Galaxy. Having worked with James Gunn in the past, Bates had a good idea on how Gunn wanted things done. That same year, he composed the score to the stylish neo-noir action film John Wick, collaborating with Joel J. Richard and Marilyn Manson.
The film proved a surprise critical and financial success, and Bates returned to score its 2017 sequel. He re-teamed with that film’s co-director David Leitch to score a spiritual successor, the Cold War-era spy thriller Atomic Blonde.
Tyler Bates Age
Tyler Bates was born in Los Angeles, California, United States on 5th June, 1965. He is 53 years old as of 2018.
Tyler Bates Net Worth
Tyler’s net worth is currently under review. He has however made a great fortune from his talent.
Tyler Bates Height
Tyler Bates is of average height.
Tyler Bates Wife
Tyler is married and has two kids. However details about his wife and children still remain scanty. We will update soon.
Tyler Bates Music | Tyler Bates Morag | Tyler Bates Californication | Tyler Bates Remember Us | Tyler Bates Two Perfect Moments | Tyler Bates Assassins | Tyler Bates Songs | Tyler Bates Albums | Tyler Bates Composer | Tyler Bates 300 | Tyler Bates To The Stars | Tyler Bates Guitar
Tyler Bates TV show soundtracks
- American High
- Black Sash
- Low Winter Sun
- PG Porn
- Sym-Bionic Titan
- The Exorcist
- Samurai Jack (season five)
- The Punisher
- The Purge
Tyler Bates Video games soundtracks
- God of War: Ascension
- Rise of the Argonauts
- Watchmen: The End Is Nigh
- Army of Two: The 40th Day
- Transformers: War For Cybertron
- Killzone Shadow Fall
- Far Cry New Dawn
- Own work
- Roseland with Azam Ali
- with Marilyn Manson
- The Pale Emperor (2015)
- Heaven Upside Down (2017)
Tyler Bates Movies | Tyler Bates Guardians Of The Galaxy | Tyler Bates Story Of Wick | Tyler Bates Watchmen | Tyler Bates Super | Tyler Bates Black Tears | Tyler Bates The Wolf | Tyler Bates The Way | Tyler Bates The Final Battle Begins
|2019||John Wick: Chapter 3 – Parabellum||Chad Stahelski|
|2018||Deadpool 2||David Leitch|
|2018||The Spy Who Dumped Me||Susanna Fogel|
|2017||John Wick: Chapter 2||Chad Stahelski|
|2017||Guardians of the Galaxy Vol. 2||James Gunn|
|2017||Atomic Blonde||David Leitch|
|2016||The Belko Experiment||Greg McLean|
|2014||Not Safe for Work||Joe Johnston|
|2014||Flight 7500||Takashi Shimizu|
|2014||Guardians of the Galaxy||James Gunn|
|2014||John Wick||Chad Stahelski
|2013||The Sacrament||Ti West|
|2011||Sucker Punch||Zack Snyder|
|2011||Conan the Barbarian||Marcus Nispel|
|2011||Killer Joe||William Friedkin|
|2011||The Darkest Hour||Chris Gorak|
|2010||The Way||Emilio Estevez|
|2009||Halloween II||Rob Zombie|
|2009||The Haunted World of El Superbeasto||Rob Zombie|
|2008||Day of the Dead||Steve Miner|
|2008||The Day the Earth Stood Still||Scott Derrickson|
|2006||See No Evil||Gregory Dark|
|2005||The Devil’s Rejects||Rob Zombie|
|2004||You Got Served||Chris Stokes|
|2004||Dawn of the Dead||Zack Snyder|
|2003||Baadasssss!||Mario Van Peebles|
|2002||Lone Star State of Mind||David Semel|
|2002||Love and a Bullet||Ben Ramsey Kantz|
|2002||City of Ghosts||Matt Dillon|
|2002||Half Past Dead||Don Michael Paul|
|2001||Kingdom Come||Doug McHenry|
|2001||What’s the Worst That Could Happen?||Sam Weisman|
|2001||Night at the Golden Eagle||Adam Rifkin|
|2000||Shriek If You Know What I Did Last Friday the Thirteenth||John Blanchard|
|2000||Get Carter||Stephen Kay|
|1999||Born Bad||Jeff Yonis|
|1999||Thicker than Water||Richard Cummings, Jr|
|1998||Suicide, the Comedy||Glen Freyer|
|1997||The Last Time I Committed Suicide||Stephen T. Kay|
|1995||Deep Down||John Travers|
|1995||Not Like Us||Dave Payne|
|1995||Criminal Hearts||Dave Payne|
|1994||Tammy and the T-Rex||Stewart Raffill|
|1993||Blue Flame||Cassian Elwes|
Tyler Bates Marilyn Manson
Tyler Bates Interview
Q: What’s that like writing/recording while you’re on tour? Is it harder?
Tyler Bates: Oh yeah. It’s completely distracting, but I have to do it in order to make everything work. I do have a team that works with me in L.A. but at the end of the day it still has to come from me. They help me with a lot of the details, but all of the thematic gestures and style is what I’m mainly responsible for. It’s a lot and right now I’m cutting a song I did for a trailer, so it’s exciting. It’s a really cool opportunity. Hopefully that all comes to fruition the way it looks like it’s going to.
Q: You were pretty excited about the opportunity to write music for the DisneyLand Guardians of the Galaxy attraction because you follow a lot of musical avenues, but this is a new one for you, what was that like?
Tyler Bates: It was so fun working with Disney Imagineering. The process is very team oriented and very solution oriented. It was a great environment and writing music for a ride is a completely different paradigm than any other medium I’ve ever worked in. [In] the first [part] of the Guardians attraction at California Adventure, my music is written for people standing in line and there are a couple videos that provide some context and information that make the ride really make sense. It’s all the expository accent of the story that occurs during the ride.
Q: It must have been cool too, because they bring it to life on a ride like that.
Tyler Bates: Yeah, what was great is that my song is scored to the ride very specifically, so there are drops and there are rivals and story telling. It was great to see the original song/score have a stronger impact on the ride experience than just playing a song. It was exciting and we all worked together as a team, so it was really fun. How it worked was a lot of meetings after midnight because the park, in order to ride the ride, the park has to be closed and they change the media over. So to do the Halloween version of the ride, we were at DisneyLand at two in the morning many, many times.
Q: That must be cool, seeing it after dark.
Tyler Bates: It’s trippy! They don’t turn the lights off or the music, it just stays on. It was kind of strange to be there, it was almost post-apocalyptic in a way. It was a lot of fun and it was great to be able to explore the Guardians of the Galaxy universe in a different context. I enjoyed it a lot.
Q: What’s it like transitioning between doing the music for a movie like Guardians of the Galaxy, creating an original score for Atomic Blonde, and playing lead guitar in a rock band?
Tyler Bates: I don’t know how to describe what it’s like, but I’d say that one experience informs the next. I come from live performance and guitar playing and it’s been a while since I’ve re-engaged my ego as a guitar player, in a way where it’s guitar centric. In the context of performing, it has to become that in order for me to do my job well, but all of my experience working in film over these past couple of decades has had a positive influence on my collaborations with recording artists, especially Marilyn Manson.
Q: It would be too easy if it all synced up like that too, I don’t think it would be as much fun.
Tyler Bates: I’m very thankful for everything that’s happening right now, because I am lucky. I’m working on great TV shows with awesome people, great movies, and at the same time writing and producing music with I think one of the most important and probably the last icon in Rock N’ Roll right now. The music is making an impact and we both really love working together.
Q: I think people, with his image, because it’s so harsh, they tend to forget that there’s still a person there. There’s a guy that used to be a music journalist, he has all of this different stuff that he does and they just attribute the image that is Marilyn Manson to him and forget about the rest.
Tyler Bates: Manson is challenging people to deal with the stuff that they’re trying to cram into the back part of their psyche and pretend that it’s not there. If you look over the past 20 years, look at every artist that’s out there now, you’ll find very few who can match Manson’s output of interesting, challenging, metaphorical lyrics. Maybe Tom Petty and a couple other artists, but not many, certainly nobody that we ever play with on tour, has the significant body of work that he has created as an artist. On top of it he’s an excellent painter and he’s funny as hell.
Q: What was your reaction to Bieber saying that he made Manson relevant again?
Tyler Bates: That’s a young person who skyrocketed to fame before he even knew who he was and he probably grew up with a bunch of people telling him who he is. He doesn’t really have any basis or any experiences to have accrued enough wisdom to even understand what he’s saying. I know when he said that, I know that night, because I saw Manson the night after those two got together, but Manson is always going to be relevant.
Q: If you’re still going out on tour and selling records, I don’t see how you’re not relevant.
Tyler Bates: Oh yeah. This whole European tour coming up, he’s doing numbers right now that he hasn’t done in a long time and it’s because of the music, it’s not because fucking Bieber wore a t-shirt.
Q: I wouldn’t expect anything less from him.
Tyler Bates: He’s had his down ticks, but he’s very excited about the future, very excited about right now and the music that we’ve made. Heaven Upside Down is an excellent record top to bottom. I loved the last one, but this one is going to be… I think it’s going to have a more immediate impact when people listen to it.
Q: You’ve always seemingly had affection to that dark/obscure concept. Dating back to Alien Avengers and living in an old haunted house that was previously owned by Al Capone while you were digging graves. I’m sure that made it an ultimate pleasure to work with people like Rob Zombie and now Manson. How did it progress from you guys meeting on the set of Californication to writing, producing, performing, and recording music together?
Tyler Bates: [laughs] That’s true.
We just got to know each other for about a year or so and then it came time to [us saying] “okay, let’s see what it’s like when we’re in a creative space together.” The Pale Emperor was something that we met in my studio [for] two or three nights a week for about three months and when the record was done, we weren’t even setting out to do a record. We were just having a creative conversation, so to speak.
Q: Did the writing and recording process differ from this album to the last?
Tyler Bates: No, we do it in my studio. Generally, he comes over to my studio and he’ll tell me what’s going on in life. We talk a lot. Whatever needs to happen that day, whatever the song is, it’ll come into my head and then we go. I just start making music, he starts working on lyrics, and we do it all on the spot.
Q: You seem to like coming up with things freshly and organically. I read about you starting off a new interaction by making music about the initial conversation. Does that happen with the two of you at all?
Tyler Bates: We all have these milestones in our lives or these periods in our lives where we feel that we’re in a certain emotional cycle, or psychological cycle, or there’s a series of events in our lives that impact what we’re focusing on. That’s what initiates the tone of what we’re going to do as artists, together. The music we create is something [that] is going to be imbued with that. It’s somewhat cathartic to explore those thoughts, experiences, and emotions through creating music.
Q: It would be hard if you got stuck, doing as many different things that you do.
Tyler Bates: That’s why I do it.
Q: Back to that ups and downs comment you made. In recent interviews, Manson mentions an incident where he threatened you with a box cutter on stage. Are you willing to share your side of that?
Tyler Bates: [laughing] Alright. The funny thing is that my publishing company in association with Manson is called Box Cutter Music. When we did The Pale Emperor, over time, we ended up being together A LOT. Then he convinced me to become a part of the band and then I helped put the band together, rehearse the band, and it was getting to a point where we were in Canada and I was coming up on the last of the shows I was going to be able to do with the band because my other career was demanding too much of me to sensibly continue touring.
Tyler Bates: I had just had enough; we were on each other’s nerves. It was like “what the fuck Manson?” He had just pulled out his green box cutter because he was going to cut himself with that and I was giving him shit about cutting himself anyways, saying “you look like a confused 17-year-old.” [laughing] So he’s like “you want me to slice you up with this here box cutter?
Q: I mean, I doubt he was actually going to cut you with the box cutter.
Tyler Bates: [Laughing] I know he wasn’t. I want only good things for him. My purpose is to help him and to help him in his life all together, not just in his career. To me he’s somebody who’s important in Rock N’ Roll and Rock N’ Roll is pretty boring. The idea of his presence not being prominent disturbs me. I just want to participate with him, to help get him back into the station he should be in. I’ve gone on tour with him all over the world and some of the bands that we open for, I just can’t understand how that’s the case.
Q: It’s the disappointing state of music today.
Tyler Bates: I mean his music, his lyrics; it’s just so far superior to so much of what I’ve heard in many of the bands that we’ve played with on the road. They’re many great bands, but still. At this point I’m really excited to see that the venues are often times a lot larger than they were when I started touring with him. This whole European tour is sold out, it’s exciting.
Q: I haven’t gotten a chance to, but I really want to listen to that. The old interviews are just priceless. Their communication and their comradery in the interviews, you don’t see that anymore.
Tyler Bates: They had a great conversation. I didn’t hear it live, but I had a number of texts. I was pretty busy that day, we had a listening party for Heaven Upside Down at my house that night, that was a pretty intense event to host. I was pre-occupied with that and The Exorcist on that day. I got a bunch of texts, “I think you should listen to this Howard Stern interview.”
Q: The video for “We Know Where You Fucking Live” has been released and “Kill For Me” is rumored to follow, with your background being in film scoring, is it different for you to put together a music video?
Tyler Bates: I think there’s a cinematic element to everything that I write, because that’s the medium that I’m in all the time. What that video is, “We Know Where You Fucking Live”, is not exactly the treatment that I had discussed initially with Manson, but that’s the video he wanted to make. They shot a video for “KILL4ME” and “SAY10” and I think you’ll see the video for “SAY10” soon. It’s fun. I told Manson it’s about time we do a band video; the fans are always asking me when we’re going to do that, so hopefully we see that in the not too distant future. He’s having fun making videos and he has a good team around him with people who are really in step with him. We’ll see what these videos become because I have no idea. [laughs]
Q: John Wick 2, it really combines all of your realms. It sees you working on the score, it sees you writing and performing, and writing the final song with Jerry Cantrell. What was it like to get to combine all of your passions into one project like that?
Tyler Bates: The director, Chad Stahelski, his energy is really intense and fun and kick ass. He asked me to come to Rome to be a part of that and two of my other friends are in that ensemble. It’s great because Chad is a lover of Rock N’ Roll and Keanu (Reeves) is as well. Keanu is involved in every aspect of John Wick and they’re just really good people to work with. When it comes to music, while I love writing rock songs and playing guitar, I really look at the big picture and what needs to happen.
Q: Like you said, it’s pretty stressful, especially the film scoring process – with it constantly evolving and the music having to adjust to that, for a Blockbuster film like Guardians or John Wick, on average, how many minutes of mocked up music do you usually produce?
Tyler Bates: It’s unpredictable because it depends on each movie. Guardians is such a massive film franchise and it’s still just a pixel in the Marvel Universe, so there’s so many factors that have to be considered into what that film ultimately becomes.
Tyler Bates: The challenge to keep up with that tempo and to stay in the immediate conversation with James Gunn and the editors and the executives requires some intense conditioning. It’s like competing in a triathlon or something. You have to be prepared for that before you begin, because if you’re not, you’re not going to make it.
Q: It would be cool to hear the director’s cut of a soundtrack, because you watch a director’s cut of a movie, and they can be over an hour longer.
Tyler Bates: Yeah, Watchmen out of all of the movies I’ve done, you can really see a whole additional score in the director’s cut. Especially because there’s a movie inside of a movie in that film, so there was a separate score for the Tales of the Black Freighter. Guardians we might mock up, it depends, maybe 1,000 minutes of music. I can recall one part of the prison escape from the first Guardians movie, which is a three minute 45 second cue; there were 18 versions of that.
Q: I like to finish off my interviews by asking for a funny character trait or something of that sort from the person that I’m talking to because I feel like that gets lost in a lot of interviews. Is there anything that you can think of that would surprise people about you or make them laugh, that you haven’t really talked about before?
Tyler Bates: You mean besides the grave digging for the mafia? [laughing] Living in Al Capone’s haunted house and having exorcisms take place there while I was a kid?
It’s honestly stuff that I would never believe if I hadn’t experienced it. I can’t talk about myself objectively from that point of view. I am excited inside, even if I sound completely monotone from the outside.
Q: You can definitely hear the character thorough it.
Tyler Bates: Yeah, I’m up to no good.
Q: You wouldn’t expect anything else on a tour like that. You’ve got box cutters, glasses being broken, and what not.
Tyler Bates: Yeah, we are having fun. There are so many stories, there’s stuff that you couldn’t even write. “Did that just really happen?” That’s not even on stage, so it’s always interesting and for me it’s about enhancing my life experience and continuing to bring more inspirational experiences to my life so that I have more depth in my capacity to tell stories through music. That’s really what it is and not too many people have had the opportunity to go out and do this, coming out of a long film-scoring career. I’m thankful for that.
Q: It’s definitely a pretty different world.
Tyler Bates: Oh yeah.
Q: I think it’s funny that you said that about the off-stage experience, because I saw a clip of Manson walking through the hallway after one of the shows and I think he just went to tap a light or something, but he hit it and it completely shattered all over him.
Tyler Bates: Oh that clock. I think we were playing in Finland or something, I remember that. He took that clock home with him; God only knows what it cost him. There are just so many things that happen. I don’t want to divulge too much. Honestly, had there been cameras inside of my studio during the making of The Pale Emperor it would’ve been the greatest reality show of all time.
Q: You’ve got to keep some stories for yourself too, you can’t share it all.
Tyler Bates: No, that’s exactly right. I’m just not that type of person anyways.