Spoiler Alert: This article contains the main destroyers of "Thunderbolts*" and is now available in theaters.

When "Thunderbolts*" director Jake Schreier was asked to take charge of the 36th film in the Marvel Cinematic Universe, he knew he would make an unconventional superhero movie.

He also knew that music needed to be different, so he brought Lux (Ryan Lott, Ian Chang and Rafiq Bhatia), the son of the Experimental Band, to bring the film's scores together.

"Thunderbolts*" follows an anti-hero team - Black Widow Agent Yelena Belova (Pugh in Florence); Bucky Barnes, also known as the Winter Soldier (Sebastian Stan); Yelena's adoptive father and Russian super soldier Red Guardian (David Harbor); the shameful Captain America Wyatt Russell; the invisible and invisible spy ghost (Hannah John-Kamen); and the combat expert mission director (Olga Kurylenko). After finding herself trapped in a death trap set by Valentina Allegra de Fontaine (Julia Louis-Dreyfus), castoffs begins on missions and is forced to face past trauma.

Schreier brought the band into the competition early in the process. Talk to it type, “We were invited to the project because we essentially bring an outsider energy,” Lott said.

They did it.

Schreier meets the band at least once a week and ideas surface - they just need to continue the script.

One important tip is the actual Thunderbolts* theme, heard all at the end of the movie. The theme begins with an eight-note pattern with brass and later strings as it is progressive. It turns out that this is the first hint of Lott's rupture.

"It has multiple components. It has a unique bass line that can be used on its own. Then it has a countermelody that is more like a pepper sound, and then a main melody. It's actually a combination of all the people presenting it, making it paired with Jack's edges." Lott added: "Before he even heard the original melody, just the original component, it was the first time he said: 'It sounds like "thunderbolt*"

But for the first time, Yelena heard childhood photos of her father's home and looking at her football team - Thunderbolts. "This is done emotionally because we are not thinking about Thunderbolt football. We are thinking about her memories and her desires," Lott said, noting that Yelena was confused and wanted more of a life. “She felt disappointed or regretful.”

The theme remains deconstructed throughout the film, reflecting characters with a “everyone” attitude. "It ends up having a degree of way. It's designed to make the audience feel familiar and feel like home. So when you finally hear the full version, it feels like you've heard it before."

Another approach the band takes is how they rate the characters and whether individual characters have separate themes. Lott explained: "That was one of the questions we asked initially, even Jake. Do we have themes? How much screen time do they really have, and when they pair? Whose themes do we hear?" He continued: "These questions elicited an obvious answer that Thunder* is a team and it's wrong to personalize their actions. It's about collective energy and the group experience of the team, slowly getting together."

The only exception is the movie's new nemesis - Sentinel. "This theme, as terrifying and shockingly powerful as this character, we also immediately see that the core of this character is that it has been hurt and broken. So throughout the movie, the theme iterates in a very different way throughout the movie," he added, "In the whole movie, in a broken solo piano, I heard a very tender and intimate moment."