Emmy and Grammy-winning composer Laura Karpman has been a transformative force in the world of film and television scoring. Her dynamic compositions have enriched a diverse array of projects, from groundbreaking series to blockbuster films. Within the Marvel Cinematic Universe (MCU), Karpman has made significant contributions, notably with her innovative work on the Disney+ Marvel animated series “What If…?”, where she reimagined iconic themes to explore alternate realities. She further expanded her Marvel repertoire with “Ms. Marvel” and “The Marvels”, delivering scores that resonate with cultural depth and Marvel-style action. Beyond the superhero genre, Karpman’s exceptional talent has been recognized with an Academy Award nomination for “American Fiction” just last year and multiple Emmy wins, underscoring her versatility.
Taking on “Captain America: Brave New World”, Karpman faced the intricate task of honoring the rich musical legacy associated with Steve Rogers while forging a distinct auditory path for Sam Wilson as the new Captain America. Chris Evans’ portrayal of Steve Rogers, complemented by the memorable scores of Alan Silvestri and Henry Jackman, has left an indelible mark on audiences. Karpman approached this legacy with both reverence and a desire for innovation. “I’ve spent a lot of time with Captain America’s musical themes,” she shared with Awards Focus. “But ultimately, we wanted Brave New World to stand on its own.” Her composition reflects the film’s political thriller essence, skillfully blending traditional orchestration with military-inspired percussion and modern electronic elements to mirror the complex world Sam now navigates.
As the fourth installment in the Captain America film series, “Brave New World” signifies a pivotal evolution, marking Sam Wilson’s inaugural mission as the emblematic hero. Distinct from its predecessors, this film operates independently of the recent Avengers narratives, presenting a standalone geopolitical thriller enriched with profound character development. The narrative also reintroduces pivotal figures from the MCU’s early days, notably from “The Incredible Hulk” (2008). Tim Blake Nelson returns as Samuel Sterns, also known as The Leader, and Liv Tyler reprises her role as Betty Ross. The film introduces Harrison Ford as Thunderbolt Ross, succeeding the late William Hurt.
Central to “Brave New World” is the exploration of identity, both for Sam Wilson and the film itself. While the legacy of Steve Rogers provides a foundational backdrop, this chapter seeks to redefine the essence of Captain America in a contemporary context. Karpman’s score encapsulates this evolution, intertwining heroic motifs with an undercurrent of tension befitting the film’s political thriller ambiance. “This isn’t just about Sam stepping into Steve’s shoes,” Karpman explained. “It’s about who he is now and what he stands for at this moment in his life.”
In an insightful conversation with Awards Focus, Laura Karpman delved into the creative process behind scoring “Brave New World,” her innovative fusion of symphonic and electronic elements to craft its unique soundscape, and her overall love of the Marvel universe she’s playing a large role in orchestrating.
Awards Focus: It’s great to meet you, Laura. I have to say, I love your glasses—they seem like a signature of yours.
Laura Karpman: They definitely are! I have to admit, they’re a passion of mine. I think about them a lot, and I enjoy them.
AF: Given your recent work with Marvel, I’m curious—when you were offered a “Captain America” film, what was your initial reaction? Did the musical legacy of the franchise factor into your approach?
Karpman: Absolutely. I’ve spent a lot of time with Captain America music, especially through my work on “What If…?,” where I played with Alan Silvestri’s theme, even flipping it upside down for Captain Carter. I’m also very familiar with Henry Jackman’s “Captain America: The Winter Soldier” score.
But from the beginning, director Julius Onah and I aligned on the idea that “Brave New World” needed its own musical identity. Sam Wilson isn’t just stepping into Steve Rogers’ shoes—he’s evolving as a hero in his own right. This score had to reflect where he is now, emotionally and thematically.
Oddly enough, the “Brave New World” hero theme isn’t the dominant motif in the film. Instead, the score leans into the political thriller and conspiracy elements that drive the story, shaping the film’s sonic identity from the opening sequence onward.
AF: That opening sequence immediately stood out to me—it feels more like a tense political thriller than a classic superhero introduction. How did you approach the orchestration to achieve that tone?
Karpman: It was a combination of classic orchestration and contemporary textures. The first thing I tackled was percussion. I worked with six percussionists, pulling from both military and New Orleans-style drumming—styles that felt thematically tied to Sam’s roots and role as Captain America.
The orchestration itself draws inspiration from classic political thrillers like “North by Northwest” and “The Manchurian Candidate”, as well as Harrison Ford’s history in the genre. I also experimented with unconventional sounds—one of the standout elements in the conspiracy music, for instance, is the use of literal wind-up toys. They create a crackling, unsettling undercurrent that reflects the tension in the film.
Another major aspect was the fusion of orchestral and electronic music. Sometimes we’d manipulate orchestral recordings to create eerie, atmospheric textures. Other times, I’d take synth-generated sounds and orchestrate them for live musicians. It became a deeply hybrid score, where electronic and acoustic elements were constantly intertwined.
AF: Your jazz background is well known, and Sam Wilson has strong ties to New Orleans. Do you think that played a role in Marvel selecting you for this project?
Karpman: I don’t think jazz was a deciding factor as much as Marvel’s trust in me to deliver something that fits within the MCU while also bringing a fresh perspective. Kevin Feige introduced me to Julius, and we hit it off right away. From there, it was all about crafting a score that felt right for this movie.
AF: When working on a major Marvel project, how much creative autonomy do you have? Were there any discussions or requirement to incorporate the classic Captain America motifs, or was it always understood that this would be a departure?
Karpman: We had discussions, and I experimented with those classic themes. But ultimately, it was decided that “Brave New World” should stand on its own musically.
Marvel’s animated “What If…?” series was different—that show thrives on variations of established MCU themes, twisting them in unexpected ways. But for “Brave New World,” we wanted the music to feel distinct and not overly reliant on past motifs. This approach makes the film accessible even to viewers who may not have followed every previous Captain America story.
AF: Composing a film score seems like an overwhelming task. How much time were you given from start to finish?
Karpman: It varies for every project. For “Brave New World,” I started in May and wrapped around November, with a bit of additional work in December. It was a fast process, but I wrote the core themes right away—there wasn’t a lot of second-guessing.
AF: At what stage in the filmmaking process do you typically come in? Were you working with a rough cut, or did you start earlier?
Karpman: For “Brave New World,” I came in when they had a solid cut of the film. That gave us a strong foundation to discuss themes and musical direction.
Other projects, like “The Marvels,” required me to come on much earlier because of the extensive musical components that needed to be integrated into the shoot. Every film is different in that regard.
AF: There’s been a lot of discourse about the reshoots and rewrites on this film. Does that impact you as a composer, or is it mostly handled in post-production?
Karpman: It’s just part of the filmmaking process. Virtually every major film has reshoots—”American Fiction” had them, and that film won an Oscar.
For me, any changes were minimal. If a new scene was added, I’d adjust accordingly, but the core score remained intact.
AF: Were there particular scenes or character arcs that proved more challenging to score than others?
Karpman: One that stands out is Ross’s theme. I wrote it early in the process, but his arc takes such a dramatic turn that it had to evolve significantly by the end of the film.
Kevin Feige actually pointed that out—he said, “It’ll be interesting to see how this evolves.” And he was right. That transformation was a fun challenge, taking the theme from its initial state and darkening it as Ross’s role shifted.
AF: The MCU has an identifiable musical language. Were there any specific cues or motifs that you felt had to be present to maintain that continuity?
Karpman: The “Brave New World” hero theme absolutely follows the MCU tradition. It has a strong, recognizable two- to four-bar phrase—that’s a signature trait of Marvel scores.
You can hear it throughout the film, whether it’s backing Sam, Joaquin, or Isaiah. It’s less about an individual Captain America theme and more of a unifying heroic motif for “Brave New World.”
AF: Before working with Marvel, were you already a fan of the MCU?
Karpman: Oh, absolutely. But when I started on “What If…?,” I had to do a deep dive with my assistant—who’s a Marvel superfan—to make sure I fully understood every reference and character arc.
That process gave me a real sensitivity to secondary characters, which I think helped in “Brave New World.” Isaiah (played by Carl Lumbly), for instance, is such a heart-of-the-film character. The way I approached his music stems from the lessons I learned on “What If…?” about making side characters feel just as integral as the leads.
AF: Lastly, what’s next for you?
Karpman: I have three upcoming TV projects—none of which I can talk about yet!
AF: If Marvel calls again, will you pick up?Karpman: Without hesitation. Always my number one priority!