Tyler Bates (born June 5, 1965) is an American musician, music producer, and composer for films, television, and video games. Much of his work is in the action and horror film genres, with films like Dawn of the Dead, 300, Sucker Punch, and John Wick. He has collaborated with directors like Zack Snyder, Rob Zombie, Neil Marshall, William Friedkin, Scott Derrickson, James Gunn, Chad Stahelski and David Leitch. With Gunn, he has scored every one of the director's films; including Guardians of the Galaxy, which became one of the highest grossing domestic movies of 2014, and its 2017 sequel. In addition, he is also the lead guitarist of the American rock band Marilyn Manson, and produced its albums The Pale Emperor and Heaven Upside Down. Bates began his career in the 1990s scoring low-budget films like Tammy and the T-Rex, The Last Time I Committed Suicide, and Denial. 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. For Zombie's remake of Halloween and its subsequent sequel, Bates adapted John Carpenter's original themes and motifs in order to fit the darker, grittier, and more contemporary atmosphere of the films. It was around 2007 that Bates began working regularly on big-budget, blockbuster films; including 300, Doomsday, The Day the Earth Stood Still, Sucker Punch, and Conan the Barbarian. This did not, however, dissuade him from composing scores to smaller, independent films like The Way, Killer Joe, The Sacrament, and Flight 7500. Bates composed the score for Guardians of the Galaxy in 2014. Having worked with James Gunn in the past, Bates had a good idea on how Gunn wanted things done. Before any of the cinematography actually started, Gunn had Bates write several themes prior to shooting so the scene could be matched to the music instead of the score being created to fit the scene. This required a fair bit of cooperation between Bates and Gunn in advance since these scores would not only be the final piece, instead of a temporary filler acting as a placeholder, but they also influenced the actual performance of everyone on set. This amount of work and effort required a massive undertaking by both Bates and his team. For 4 months, they clocked upwards of 100-hour work weeks to produce this finished product. After all the work, they had a total of 29 different soundtracks giving a combined total of 64: 34 of music. "At least half the cues in the movie have more than 500 tracks of audio," Bates was quoted in an interview with Melinda Newman on HitFix. This was a result of there being orchestral passages that were doubled or tripled, choirs, overdubs, and other instrumentals. That same year, Bates 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.

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