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Fast X Composer On How His Newest Score Fits Into The Fast & Furious Franchise
The Fast & Furious franchise is coming to a (prolonged) close starting with Fast X. The tenth installment in the long-running franchise is the beginning of the end for the core Fast family, and fittingly pulls out all the stops in the process. What’s more, even as the franchise speeds toward the finish line, it has introduced one of its best-ever villains in Jason Momoa’s Dante.
Of course, the Fast & Furious franchise is ultimately about family both on-screen and behind the scenes. Much of the creative team behind Fast X has worked on previous films in the saga, and composer Brian Tyler is no exception. Fresh off his masterful score for The Super Mario Bros. Movie, Tyler has created a bombastic score for Fast X that also adds fresh and new musical elements that fit perfectly with what has come before. Tyler’s score will be released as an album on June 2nd, but until then, it can be enjoyed in the movie itself.
Related: Who Dies In Fast X (& Whose Fates Are Unknown)
Brian Tyler spoke with Screen Rant about being inspired by Jason Momoa’s performance, crafting the perfect music for one of the film’s biggest action sequences, and more. Note: This interview has been lightly edited for length and clarity.
Brian Tyler on Fast X
Screen Rant: I saw a video of you from years ago where you went through how you did a cue for Fast & Furious. You were talking about laying down the band instruments like drums, bass, and guitar, and then building in the orchestra after. Has your process changed over the years at all?
Brian Tyler: Yes and no. This one is quite different. I can’t wait for you to get the score on its own, which we’re mastering right now. It’s out June 2nd. The approach was similar in terms of the order of things. The first thing I did on this one was that from the script, and from talking to people early on, and then as Louie came on board and started to shoot, I started to write music. Once I saw Jason Momoa’s performance, it was like, “There are all these characters. I’m going to write this suite that’s away from picture.” I did it all myself, including doing sampled strings. I played some strings and cello and drums and bass, and then add 808s. Then I’d go in and start programming and doing production.
Part of the sound is that I’m a music producer. I’ve had two careers; I do bass music and hip-hop and produce music with Rae Sremmurd and Wiz Khalifa, and collaborate with them, and even toured as an artist as Madsonik. It’s this whole other world, and in Fast and Furious, especially on this one, that is really forefront. It’s crazy, crazy production, from drum and bass to hip-hop, to everything in between. There are elements of electronic music, but also live musicianship and ear candy. It’s this wild sound. I was always really into that, but since the last Fast and Furious, it’s been a few years of hardcore working on my project Are We Dreaming, which is kind of like a new wave of production. That was an element that I wanted to bring into this Fast, and at the same time it had these themes and orchestral things, so I started layering. I’d have over 300 tracks and different little things in one song. I’m using the Z axis, where sound goes not just up, down, left, and right, but forward and back. It uses all this psycho-acoustic brain trickery to make you think you hear things behind your head. It’s insane. If you put on headphones with this soundtrack, you’re in for a treat.
As a precursor to what I’m about to say, the Fast and Furious movies started as racing movies. Musically, it was more just the energy thing, and it wasn’t as thematic. Then, by the time we got to Fast Five, all of a sudden the structure of the movies became more epic. There’s family, and there’s love, loss, tragedy, and all these things, and all of a sudden, I was writing leitmotifs and themes. Even though that music is a modern hybrid sound, the essence of the structure is almost more like a Star Wars or Lord of the Rings, where you have themes for people. As the movies have gone by, and you introduce Jason Statham’s character Deckard, and Kurt Russell’s character Mr. Nobody, and Hobbs played by Dwayne Johnson, all the characters have themes. Now you’re talking about over a dozen main themes by the time we’re in this movie. It’s almost an unheard-of amount of character themes at this point.
So, here comes a new character, right? Here comes Jason Momoa. You go back to Fast Five, to the heist in Rio, at the beginning, and you’re seeing this amazing sequence from another perspective; you’re seeing it from the villain’s perspective. The cool thing about that is that it creates empathy for the villain. He’s not just a mindless, “I am going to nuke the planet” kind of villain. You get it. Villain themes are often kind of relegated to, like, “Whatever, just make it dark.” People tend to, in film compositions, go lower and lower and lower, and get really dirge-y. That’s not this. I think he’s the best kind of villain. He’s charming, and you have a kind of sympathy for him. He’s evil and intelligent.
We’re talking about how this started, and the suite that I wrote; it starts with Dante. It starts on violins, and it’s really snaky. The notes bend. Then there’s harp–elegant, sophisticated, charming. He’s attractive. You want to look at him. You want to have a drink with him and have him tell you a story. Villains that are human beings, I think, are best when they’re humanized. That music had to do that, and it grows out of this character. It’s building, and building, and the strings are coming in, and all of a sudden you have this modern electronic production that borrows from the most sound-design-y bass music, but with the higher orchestra. It’s kind of like he’s charming you and seducing you.
The third chord in his theme is wrong. It’s such an ‘out’ chord. It shows that he’s disjointed, and he’s fractured. It keeps on building, and shorter strings come in showing precision, and that he’s intellectual, and he can calculate how he’s going to **** you up.
Something that really stood out to me in watching the movie was the whole Rome sequence. It’s, like, a 10-minute action sequence, and there’s music the whole time. How do you keep the music building for that long?
Brian Tyler: It’s funny because Dante’s theme comes in there, and so does the Fast and Furious team theme. But when it’s the Fast team theme, it’s from the perspective of them getting their asses kicked. It’s negative, but this really, for me, musically satisfying sense of danger. It feels dangerous, and you’re dealing with major threats.
There are a couple of things I did. I was doing Dante’s theme, but really assertively. I was inverting what used to be called the devil’s interval which, back in the day, the Catholic Church in Rome banned. You weren’t allowed to do this interval, and that’s part of Dante’s theme; the devil’s interval in reverse. So that’s going on, and the tempo is building, and I slowly add in things. One of the things I did that I’ve never done in any Fast and Furious movie is use choir, so all of a sudden, you realize you’re in a nuclear scale. The scale of everything becomes much bigger, with much more peril and emotion.
Also, something that I do is something I call a shepherd tempo. There’s something called a shepherd tone, which is a note that loops around itself and always sounds like it’s going upward. There’s a thing that happens where if you ramp up too slowly in tempo, there’s this thing that happens where you don’t notice it, and so it’s useless. What would happen is that people in both film scoring and in DJing would, I think, make a mistake. They would set a start point tempo and an end point tempo and, no matter how long it was, just 45-degree angle up to it. The problem with that is, if it’s over a certain amount of time, you just don’t feel it. It doesn’t feel like it’s getting more exciting.
What I do is I’m like, “What’s going to happen if I throw out that rule?” and I just do it where I speed up and ramp up naturally. I learned this, actually, from Fast and Furious, because sometimes there are 19-minute action sequences, and DJing. I saw it work in person. I would do gig after gig, and I would do this psycho-acoustic illusion, which is that I would ramp up the tempo, and it would hit a peak, and then I would do some kind of polyrhythm against it. All of a sudden a tempo would come in that would be a tuplet, or a two-thirds tempo, and because it’s so weird against the other tempo, it sounds faster, but you’re going only 66% as fast. Now I’ve slowed way back down, and I have all this ramp again.
So I’m doing that throughout the sequence you’re asking about. It kind of continuously feels like you’re getting more intense. Then, I do actually hit the choir. In the end, I kind of go into halftime, and it just feels like that mosh pit kind of tempo, but with choir and orchestra. Everything’s on eleven right at the peak, and that feels kind of like that mic drop situation, almost like that’s the end of a concert, but with film scoring.
I appreciated the little Swan Lake nod. Where’d that come from?
Brian Tyler: Yeah, “Weird choice, Brian.” So, there’s a part where he says how much he loves opera, and I’m like, “Why not bring in some Tchaikovsky?” It sounds kind of weird; it sounds darker than Swan Lake, but it is Swan Lake. It’s a very beautiful melody. Funny enough, we already mentioned this; there are certain things that weren’t allowed in music. What I’m doing is the melody of Swan Lake, but done really low. It’s lower, but at the same time, the chords and some of the intervals are kind of banned chords Tchaikovsky wasn’t allowed to use. It makes it feel off, and kind of epic. It comes at a moment–no spoilers, but it’s a big moment. The idea was just to reference him, but do it kind of from his perspective. It’s almost like what Swan Lake would be in how he hears it in his mind.
Fast X is now going to be a trilogy, I think, but as someone who has had the Fast movies in his life for so long, have you started thinking about the end yet? How’s that been for you?
Brian Tyler: I was telling you about when I was writing that suite; I’m even thinking ahead. Some of that is actually a musical backdrop for a character that is only in it for so long. I’m even writing now, already, for things that are coming. I love being involved on the ground level, and really being a part of the filmmaking crew. I started working on Fast and Furious–my music is in the first Fast and Furious, as a matter of fact, so in terms of association with Fast and Furious, this is already 22 years.
The number of people that are still around is cool. We’re like, “We’ve been through it,” and we can’t tell you how many times we’ve told, “That’s not going to work.” “No, it’s done.” 2006–“No.” 2007–“It’s over. No more Fast.” I see it still sometimes, like, “Oh, they’re doing two more. I don’t know.” We’re used to it, and it’s a camaraderie now where we believe in it and we’ve grown together as a family.
Also, just from a composer’s perspective, this is one of the most challenging scores you can do. In a way, it has its foot in traditionalism where I have to write themes that really, really can stick with you in a way that’s architecturally like a John Williams type of score, but with orchestra and the most crazy, intensely, sonically-detailed production. I produce and mix all the scores; I won’t let anyone go there. As I’ve grown as a music producer, it has gotten more and more rich in that area, but in terms of doing something like this just as a challenging feat, it is beyond imagination. I’m really proud of it, and I’m looking forward to how this finale is going to line up. I think people are really going to be blown away.
About Fast X
Dominic Toretto must protect his family from a new threat with ties to his past. Dante Reyes, son of Hernan Reyes from Fast Five, seeks revenge against Dominic for the loss of his family fortune and the death of his father. Dominic must pull his family together to protect each other from the most volatile threat they’ve faced yet.
Check out our other Fast X interviews:
Next: THAT Fast X Character Return Explained: How It Happened & What It Means
Fast X is in theaters now, and the original soundtrack will be released on June 2.
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Fast & Furious 11 Release Delay & Filming Start Date Confirmed By Director
Summary
Fast and Furious 11
is facing a release date delay to Summer 2026 due to strikes, with director Louis Leterrier confirming the sequel will not be hitting its April 4, 2025 date.
Leterrier also confirms that filming starts in Fall 2025 after finishing a horror movie in September.
The final installment in the
Fast Saga
reunites Vin Diesel’s Dominic Toretto for one last ride, while also leaving the door open for other spinoffs.
After facing multiple delays due to the 2023 SAG-AFTRA and Writers Guild of America strikes, Fast and Furious 11 is seeing its release date delayed. The next installment in the Vin Diesel-fronted franchise is expected to be the last mainline sequel, while development continues on the Dwayne Johnson-led spinoff Hobbs & Reyes, a mysterious standalone movie penned by Fast X’s Zach Dean and a potential female-led spinoff. While a filming start date was never confirmed, Universal had previously set the movie for an April 2025 release date.
During a recent interview with Collider at a CCXP MX panel, Louis Leterrier was asked for an update on Fast and Furious 11. The director went on to confirm that the final mainline installment in the action franchise will no longer be making its April 4, 2025 release date, instead now aiming for a Summer 2026 release window with the filming start date being set for this fall. Check out what Leterrier said below:
It’s happening. It’s happening very, very soon. I’m able to shoot a little horror movie this summer. I’m finishing my horror movie on September 15th, and I start Fast on September 16th.
Will Fast 11’s Multiple Delays Help Or Hurt The Sequel?
Much like the tenth film before it, Fast and Furious 11 has faced a few behind-the-scenes hardships in its road to getting off the ground, namely the delays stemming from the 2023 strikes. While the latest movie seems to have retained its core creative team in comparison to the shift in directors from franchise vet Justin Lin to Leterrier on Fast X after reported creative differences between the former and Diesel, this change didn’t seem to help much with the continued downward trend recent sequels have seen from critics. Check out how the franchise’s Rotten Tomatoes scores compare below:
Title RT Critical Score RT Audience Score The Fast and the Furious 54% 74% 2 Fast 2 Furious 37% 50% The Fast and the Furious: Tokyo Drift 37% 69% Fast & Furious 28% 67% Fast Five 78% 83% Fast & Furious 6 71% 84% Furious 7 81% 82% The Fate of the Furious 67% 72% Fast & Furious Presents: Hobbs & Shaw 67% 88% F9: The Fast Saga 59% 82% Fast X 56% 84%
Even looking outside the Fast and Furious franchise, many movie sequels have found themselves hurt by various delays, be they from creative changes, general release shifts or other factors. The action genre in particular is one in which lengthier development periods can lead to diminishing returns, be it A Good Day to Die Hard, Rambo: Last Blood or Diesel’s own xXx: The Return of Xander Cage. While Fast and Furious 11 may only be getting pushed back by a year, the delay is nonetheless a concern that the final installment could find itself in trouble.
On the other hand, the longer wait for Fast and Furious 11 to close out the mainline series of movies could actually prove beneficial for the sequel. Though Leterrier may be busy with another project in the lead-up to filming the next installment, writers Oren Uziel and Christina Hodson should now have more than enough time to really look back at the script and ensure it learns from the critical missteps of recent installments to deliver a satisfying conclusion to the Dominic Toretto saga.
Source: Collider
Fast and Furious 11 Fast and Furious 11 is the final movie in the Fast Saga. It reunites Vin Diesel’s Dominic Toretto with the rest of the cast for one last ride. However, the franchise is open for spinoff films like Hobbs & Shaw afterward.Director Louis Leterrier Release Date April 4, 2025 Distributor(s) Universal Pictures Writers Christina Hodson , Oren Uziel
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Vin Diesel Already Has His Perfect Fast & Furious Replacement Franchise With 51-Year-Old Remake
Summary
Vin Diesel’s dominance in Fast & Furious is ending, but Kojak could kick off a new action franchise for him.
Kojak’s reboot faces an uncertain future, but its similarity to Fast & Furious makes it a worthy project for Diesel.
Diesel’s potential shift from criminal racer to cop signifies a fresh start in a possible Fast & Furious-like series.
Vin Diesel’s days of playing Dominic Toretto are numbered, but the actor has already found his perfect Fast & Furious replacement. Diesel found a major breakout role in the early 2000s thanks to participating in The Fast and the Furious. The original 2001 street racing crime movie became the springboard for a sprawling franchise that has lasted for over two decades. The success of the Fast & Furious movies transformed Vin Diesel’s career, turning him into an even bigger star, especially in the action movie genre. But, Fast & Furious 11 is planned as the final chapter for him and the franchise.
The Fast & Furious franchise’s end will put Vin Diesel in an unfamiliar position of not having a major franchise to lean back on. This presents the actor with various options, such as changing the course of his career to pursue non-franchise roles. However, the more likely outcome is that Diesel will attempt to find a new IP that can replace Fast & Furious. He has had trouble in that regard recently, with franchises like xXx or Riddick running cold and Bloodshot and The Last Witch Hunter failing to launch franchises. There is another option for Diesel, though.
2:03 
Kojak Can Be Vin Diesel’s New Action Crime Franchise After Fast & Furious
Diesel Has Been Developing The Reboot Since 2015
The impending conclusion of the Fast & Furious franchise means it is finally time for Vin Diesel’s Kojak reboot to get off the ground. The project was announced back in 2015 with Diesel re-teaming with Universal Pictures, the studio behind Fast & Furious, to develop a movie based on Kojak. The original TV series starred Telly Savalas as Theo Kokaj and ran for three seasons after debuting in 1973. The series revolves around Kojak, a New York detective known for being willing to go beyond the law and a love for cars and lollipops, and follows him as he investigates different cases.
Kojak was rebooted in 2005 as a TV show starring Ving Rhames, but it only ran for six episodes
Development on Vin Diesel’s Kojak movie has not been very active in the nine years since it was announced. However, it still maintains the base similarities to Fast & Furious, which makes the project a worthwhile endeavor for Diesel in terms of finding a new action franchise. He would now have another big action series about cars and crime, essentially making Kojak into a newer version of Fast & Furious. The irony here is that Diesel takes on the role of a cop after playing criminal racer Dominic Toretto.
Vin Diesel’s Involvement Can Morph Kojak Into A Major Action Franchise
Kojak Could Be A Fast & Furious Clone
Looking at the original TV show, Kojak might not necessarily project to be a major blockbuster action franchise akin to Fast & Furious. The TV series was relatively grounded and small due to the nature of its production. However, the fact that Diesel and Universal pinpointed this property as something they wanted to revive together is telling. The announcement of Kojak’s reboot came months after Furious 7 debuted in theaters and took the franchise to new heights at the box office and in terms of how ridiculously big the action and story could get.
It’s sometimes difficult to remember that Fast & Furious started off with a story about DVD thieves who were also street racers before Diesel helped turn it into something much bigger. With that experience and success already behind him, it would be understandable if a similar path was envisioned for Kojak. The series could then morph into a Fast & Furious clone, one that gives Vin Diesel a new franchise to headline and Universal a “fresh” action franchise to grow.
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The Rock’s WWE Run Means Fast & Furious 11 Must Make 1 Major Hobbs Change
Summary
Hobbs from Fast & Furious 11 needs a gritty edge like The Rock’s WWE character to keep the franchise fresh and exciting.
The Rock’s time away from the Fast & Furious universe provides the perfect reason for Hobbs to return with a personal vendetta and a more savage attitude.
While Hobbs shouldn’t become a full-fledged villain in Fast & Furious 11, adding some edginess and dirty tricks could make his character more intriguing and dynamic.
Fast & Furious 11 must make one major Hobbs change after The Rock’s incredible WWE run. Dwayne “The Rock” Johnson’s WWE return surpassed his recent movies, with the actor creating some of the best work of his career. Having returned to a thunderous reception, The Rock was able to flip the crowd’s reception by becoming a heel and playing a major part in WrestleMania’s main events. The Rock hasn’t played a villain on screen for years, as even his depiction of Black Adam lent more into the character’s anti-hero side, which made his wrestling run all the more refreshing.
While his wrestling character may not perfectly translate into the Fast & Furious universe, there is one aspect of The Rock’s WWE run that the franchise should attempt to implement. After debuting in Fast Five, The Rock’s best Fast & Furious scenes helped contribute to the movie series becoming so popular, with Luke Hobbs becoming an instrumental part of the story. He was even given his own spinoff alongside Deckard Shaw (Jason Statham) and is set to get a solo movie in the future. Despite this, Hobbs would still benefit from adding one key aspect of The Rock’s WWE run.
The Rock’s WWE Run Proves Fast & Furious 11 Needs To Give Hobbs More Of An Edge
Fast & Furious Would Benefit From Hobbs Adopting Some Of The Rock’s WWE Tendancies
Given how electrifying The Rock’s recent WWE run was, there is no doubt Fast & Furious 11 needs to give Hobbs more of an edge. Although the character has had his more serious moments, like most of the Fast & Furious cast, Hobbs tends to mix action with comedy. Hobbs and Shaw are supposed to be two of the more stoic heroes, yet they are constantly at each other’s throats and cracking jokes to help maintain the franchise’s lighthearted core. However, giving Hobbs a grittier side would help the character thrive upon his return.
The Rock’s Fast & Furious return may redeem Fast X’s box office, but the character needs to come back stronger than ever. By allowing him to be more ruthless, he can still maintain some elements of comedy but also become more interesting in the process. Johnson proved that despite being a detestable heel, he was still as hilarious as ever during his recent WWE tenure. This proves that he can maintain Fast & Furious’ tone and humorous style while being more layered; therefore, Hobbs adopting some of The Rock’s WWE characteristics could make him even more entertaining.
Fast & Furious Already Has A Reason For Hobbs To Be More Savage
Hobbs Has Been Away From The Franchise For Several Years
Making a major change to Hobbs’ character could be tough to explain, but Fast & Furious 11 already has a great reason to make him more savage. His four-year absence from the franchise gives him a perfect excuse to come back with a vengeance and potentially have a personal attachment to Fast & Furious 11’s villains. Hobbs’ time away from the main story could be explained through a connection to Fast X’s secondary villain, Aimes. Aimes’ villain twist in Fast X was well executed and suggests he’ll be around for the sequel, which is the perfect reason to bring back Hobbs.
Having a more personal story with one of the villains could allow Hobbs to continue his great quips and one-liners, but it would also give him more of an edge.
Fast X never explained why he’s back, but having a personal vendetta against Aimes could be an intriguing reason. Given Dom and Dante are the focal point of the franchise’s conclusion, Hobbs returning to take down Aimes would avoid overshadowing the main story while still giving him an interesting role. Having a personal story with one of the villains could allow Hobbs to continue his great quips and one-liners, while also giving him more of an edge. This provides The Rock with the perfect reason to implement some of his heel traits while still portraying a morally good hero.
2:34 
Related Predicting The Ending Of All 13 Fast & Furious Characters In Fast 11 The Fast Saga is set to conclude with Fast & Furious 11 – or Fast X 2 – but how will Dom Toretto and his family’s stories come to a definitive end?
Why Fast & Furious Can’t Bring The Rock Back As A Villain
Hobbs Already Appeared As An Antagonist In Fast Five
Custom image by Debanjana Chowdhury
Although The Rock’s villainous tendencies worked well in the WWE, Fast & Furious can’t bring him back as an antagonist. Johnson already played the main villain of Fast Five, as Hobbs was originally an enemy of Dom and his crew before becoming an ally. Hobbs’ role in Fast Five was one of his best, but despite being the main antagonist, he always had a level of integrity. Dropping all of this to make him a villain in the final movie would be completely unnecessary, especially as the franchise needs him to remain a hero for his spinoff.
Fast & Furious 11 may end the main story, but The Rock will be part of the franchise beyond this, and altering his character so drastically wouldn’t make any sense. Instead, adding some extra edge to his character would have the same effect and would avoid stealing the thunder from Dante and Aimes. Although Fast & Furious 11 shouldn’t make him a villain, the film can still allow Hobbs to play dirty and pull some cheap tricks in order to show a grittier side, while letting him taunt his enemies when he inevitably helps save the day.
Fast & Furious 11
is scheduled to be released in theaters on April 4, 2025.
Fast and Furious 11 Fast and Furious 11 is the final movie in the Fast Saga. It reunites Vin Diesel’s Dominic Toretto with the rest of the cast for one last ride. However, the franchise is open for spinoff films like Hobbs & Shaw afterward.Director Louis Leterrier Release Date April 4, 2025 Distributor(s) Universal Pictures Writers Christina Hodson , Oren Uziel
Fast & Furious 11 Release Delay & Filming Start Date Confirmed By Director
Vin Diesel Already Has His Perfect Fast & Furious Replacement Franchise With 51-Year-Old Remake
The Rock’s WWE Run Means Fast & Furious 11 Must Make 1 Major Hobbs Change
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