John Murphy, known for composing the score for the new Superman movie, recently explained why he prefers working with DC over Marvel Studios. As a frequent collaborator of James Gunn, Murphy has contributed music to both Guardians of the Galaxy Vol. 3 in the Marvel Cinematic Universe and DC’s Peacemaker and The Suicide Squad, offering him a unique perspective on both studios. His insights reveal contrasting work environments shaped by culture, relationships, and creative freedom.
Insight into Murphy’s Work on Superman and His Creative Approach
The new Superman film marks Murphy’s latest project, showcasing his distinctive style defined by an eclectic mix of orchestral, indie, and punk influences alongside John Williams’ classic Superman themes. His compositions include tracks like
“Theme from Superman (Official Trailer Version),”
LuthorCorp, Lois & Clark, Raising the Flag, and Walking on Air. The soundtrack has received praise for its originality and how it complements the film’s narrative about Clark Kent as he reconciles his Kryptonian roots with his human life in Metropolis.
Comparing Experiences with Marvel Studios and DC
Murphy discussed his different experiences working with Marvel Studios and DC in a detailed interview with ScreenRant. He noted that his relationship with Marvel began with Guardians of the Galaxy Vol. 3, where he encountered a professional but emotionally distant environment, which involved navigating studio politics. In contrast, his work with DC, particularly on projects headed by James Gunn, felt more personal and collaborative.
“It’s different, but there’s a few reasons for that. Let’s take The Suicide Squad, which was before James was the head of DC. Even with The Suicide Squad, there was so much respect for him that I don’t remember any studio notes. I just don’t remember them. I think he was just trusted, and it was really just dealing with him.” —John Murphy, Composer
Murphy highlighted that DC projects under Gunn’s direction offered a close-knit atmosphere, legitimized by longstanding professional bonds, especially with Warner Bros. executive Paul Broucek, who gave Murphy his first movie opportunity in Hollywood. This familiarity allowed Murphy to express more creative freedom and take risks within the DC workflow.
Working with James Gunn: An Indie Film Feel on a Major Scale
The composer compared his collaboration with Gunn to the relaxed and creative process found in indie films, which contrasts with the structured and hierarchical experience at Marvel. Murphy reminisced about his work style with renowned directors like Danny Boyle and Guy Ritchie, noting similarities in Gunn’s approach despite the larger scale of superhero films.
“One of the best things about working with him is that it’s like working on an indie film, but blown up. In the old days, I’d sit with Danny Boyle in a room having a few beers, and we’d watch the movie and go through stuff. Or Guy Ritchie stayed with me in Liverpool for a bit, and we went through [the movie] and it was just like you chilling, [going,] ‘What are we going to do here?'” —John Murphy, Composer
He further detailed that communications with Gunn involved frequent FaceTime calls and emails, emphasizing direct conversation over typical studio mandates. Murphy noted,
“I can’t recall a single occasion where anyone ever told him what to do. I think he just does his own thing.”
This creative autonomy distinguishes the process under Gunn from other large studio productions.
Marvel’s Efficient Yet Impersonal Machine vs. DC’s Close-Knit Environment
Murphy contrasted Marvel’s working style as a “big machine” — highly professional but less personal — against the more intimate and trusting environment he experienced at DC. He acknowledged that his prior connections at Warner Bros. facilitated this comfort level with DC, allowing him to take liberties he felt were unavailable at Marvel.
“I had to deal with politics separately with working on Marvel, but it’s just a very different setup, and I’d never worked with Marvel before Guardians. With any film this size, there’s always a bigger machine behind the scenes going on. Dealing with Marvel people, they were very professional, but you feel like you’re part of a big machine, whereas DC felt a bit more close-knit. [That’s] also because I’ve known the head of music at Warners since I first came to Hollywood. Paul Broucek–he gave me my first movie. So, there was much more of a close-knit feel with Warners and DC. I could get away with a bit more. I could throw a tantrum and not be fired. I couldn’t really do that with Marvel. You know what I mean? I had to play nice. So, it’s a different thing. But maybe if I went did another movie with Marvel, it would be a second time around and [feel different.] It’s different, but there’s a lot of reasons for that, not just because Marvel is different from DC. My relationship with DC is also tied in with an old relationship with Paul and the staff at Warner, so it’d be unfair to go ‘DC is better.’ It’s just different.” —John Murphy, Composer
This acknowledgment underlines that the preference reflects more on the cultural and personal relationships developed rather than an outright judgment on the quality or success of either studio.
The Creative Impact on Superman 2025 and Broader DC Projects
Murphy’s commentary sheds light on the collaborative process behind Superman’s soundtrack, where ideas flowed directly between him, co-composer David Fleming, James Gunn, and studio executives. The mixture of classic and modern musical influences mirrors the film’s thematic exploration of identity and legacy.
This dynamic creative atmosphere within DC contrasts with Marvel’s methodical storytelling approach, defined by a continuous cinematic universe narrative. Both studios are titans in the comic book industry, with Marvel known for producing blockbuster hits like Avengers: Endgame, and DC recognized for critically lauded works such as The Dark Knight, Tim Burton’s Batman, and Joker.
Superman 2025’s Reception and the Role of Its Music
The new Superman movie recently surpassed $300 million at the global box office, making it a notable success for DC in recent years. Critical and audience responses have been overwhelmingly positive, with an 83% critic score and 91% audience approval on Rotten Tomatoes. The innovative soundscapes crafted by Murphy and Fleming played a significant role in enhancing the film’s appeal, bringing fresh energy to an iconic hero’s story.
Murphy’s remarks not only reveal the diversity of creative choices that DC has embraced in recent projects but also highlight the importance of trust and artistic freedom in developing memorable soundtracks and cinematic experiences.
Overview of the New Superman Film and Cast
Superman (2025) follows Clark Kent as he balances his secret identity and journalistic career in Metropolis. The film delves into his inner struggle with his Kryptonian heritage and his human upbringing, navigating themes of identity and belonging in a complicated world.
The cast includes David Corenswet as Clark Kent/Superman and Rachel Brosnahan as Lois Lane, further grounding the story in strong performances that complement the film’s layered narrative.
