Imagine pushing the boundaries of creativity so far that you're not just composing music for a blockbuster film—you're literally crafting the tools to bring those sounds to life. That's the thrilling innovation Simon Franglen brought to the score of Avatar: Fire and Ash, the latest chapter in James Cameron's epic saga. But here's where it gets controversial: Is this level of musical invention the future of filmmaking, or just an extravagant gimmick? Stick around as we dive deep into how Franglen's custom instruments shaped the sounds of Pandora's new tribes, and explore why this approach might redefine how we think about movie scores.
You might know James Cameron as the visionary director who's always pioneering cutting-edge technology for his films, from groundbreaking 3D effects to immersive virtual worlds. And with Avatar: Fire and Ash, that inventive spirit extends beyond the visuals and special effects—right into the heart of the soundtrack. The composer, Simon Franglen, joined the technological revolution by inventing entirely new instruments tailored to the film's narrative. This isn't just about hitting the right notes; it's about forging the very instruments that make those notes possible, creating a sonic landscape that's as fresh and otherworldly as Pandora itself.
To understand this better, especially if you're new to film scoring, think of music in movies as the emotional glue that ties everything together. Traditional scores might use familiar instruments like violins or pianos to evoke feelings, but Franglen went further. For Avatar: Fire and Ash, the story introduces two new Na'vi tribes: the Windtraders and the Ash. Each tribe demanded its own musical identity, and no existing Earth-based instruments could capture the essence Franglen envisioned. So, he took matters into his own hands, starting way back in 2018, well before anyone knew how this film would unfold.
And this is the part most people miss: The process wasn't just about dreaming up ideas—it involved collaboration with the film's top creatives to turn sketches into reality. For the Windtraders, described as a sophisticated flying tribe reminiscent of the ancient Phoenicians—those legendary sailors and traders of the Mediterranean—Franglen wanted music that felt grand, expansive, and effortlessly airborne. Picture them soaring in colossal ships stretching 800 feet tall; the score needed to mirror that majesty, with sounds that 'flew and floated' through the air like a gentle breeze carrying epic power.
Since standard instruments couldn't deliver this unique vibe, Franglen designed custom ones from scratch. He sketched out concepts, passed them to production designer Dylan Cole, who refined them into practical designs, and then the prop masters used 3D printing to produce real, playable instruments. These aren't just props for show—they're functional tools that musicians actually perform on, adding an authentic layer to the film's immersive world. It's a fascinating blend of artistry and engineering, showing how film scores are evolving into something more tangible and interactive. For beginners wondering why this matters, consider it like a chef inventing a new kitchen gadget not just to cook a meal, but to perfectly capture a flavor profile no existing tool could achieve.
Now, shifting gears to the Ash tribe—these are the wild, destructive forces of the story, portrayed as 'chaos agents' hell-bent on upheaval. Franglen flipped the script here, transforming the familiar Avatar soundscapes into something raw and unpredictable. Unlike the Windtraders' bespoke creations, he leaned on instruments he already knew, drawing from old synthesizers that evoke retro electronic vibes and a regional gem he discovered years ago.
During a trip to Inner Mongolia about a decade back, Franglen encountered the morin khuur, a two-stringed instrument carried on the back like a backpack, often played with intense energy. Imagine a viola with a rebellious streak—it can be strummed or bowed at frenetic speeds, producing sounds that perfectly embody the Ash's fiery, world-burning ethos. This discovery wasn't accidental; it highlights how real-world travels can inspire cinematic innovation, making the score feel lived-in and culturally rich. For example, just as a musician might sample global instruments to add depth to a track, Franglen used the morin khuur as the 'core sound' for the tribe, blending it with synthesizers to create a chaotic texture that's both alien and alarmingly relatable.
Of course, this approach raises eyebrows. Is inventing instruments for a film score a stroke of genius that elevates storytelling, or an unnecessary complication that could distract from the music itself? Some might argue it adds unparalleled authenticity, while others wonder if it risks overshadowing the composer's core talent. And here's the controversy: In an era of digital everything, does physically crafting instruments feel like a nostalgic throwback, or a bold leap forward? It's a debate worth having, especially as James Cameron reportedly hinges future Avatar installments—Avatar 4 and 5—on how audiences receive Fire and Ash.
Speaking of which, the film, distributed by 20th Century Studios, hits theaters on December 19, and fans have even more to anticipate. Franglen shared that a new original song by Miley Cyrus will drop later this month, adding another layer of pop culture buzz to the project. Plus, he emphasized the score's roots in the Los Angeles music scene, where it was recorded. As a proud member of that community, Franglen credits the collaborative spirit of LA's talent pool for bringing his vision to life, proving that sometimes, the best innovations come from real human connections.
Stay tuned—on Monday, we'll share the full video from the Deadline’s Sound & Screen panel where Franglen discussed all this in detail. But before we wrap up, let's get you thinking: Do you believe custom instruments like these enhance a film's emotional impact, or do they complicate what should be straightforward music? Is this the pinnacle of creative filmmaking, or a slippery slope toward over-engineering art? Share your thoughts in the comments—agreement, disagreement, or a fresh take—we'd love to hear it!
