Pinar Toprak is one of the most refreshing voices in film music today, and is the first woman to ever score a Marvel Superhero movie. Pinar wrote the score to Marvel Studios’ Captain Marvel directed by Anna Boden and Ryan Fleck and starring Brie Larson. She also wrote the score for the Pixar short Purl. Her most recent work includes the DC Universe TV series Stargirl, the Syfy TV series Krypton, the massively popular video game Fortnite from Epic Games alongside composer Marco Beltrami, as well as additional music for Warner Bros.’ Justice League, her second collaboration with producer Wendy Yamano for the dramatic feature It’s Time, and Sumatra Films’ The Angel directed by Ariel Vromen for Netflix.
Pinar’s past work includes the thriller The River Murders (starring Ray Liotta and Christian Slater), an anguished, haunting accompaniment, scored the tenderness and optimism in the period drama The Lightkeepers (starring Bruce Dern and Blythe Danner), and articulated the hard-won triumph of Michael Clarke Duncan’s final screen appearance in the boxing drama The Challenger. Her work can also be found in Epic Pictures Group’s The Monster Project. Toprak has tackled action (Behind Enemy Lines II: Axis of Evil), animation (Light of Olympia), and romance (Say It in Russian). She also composed music for the Xbox 360 game Ninety-Nine Nights, the PBS documentary The Wind Gods about The America’s Cup (from Star Trek Into Darkness producer David Ellison), and the MRB Productions documentary, In Utero.
Toprak was born and raised in Istanbul, Turkey, where she began her classical musical education at the age of five. After studying composition and multiple instruments at the conservatory, she moved to Chicago to study jazz, then Boston for a degree in film scoring from Berklee College of Music. She then came to Los Angeles, earned a master’s degree in composition at age 22, and has quickly become an active and reinvigorating new voice in a male-dominated Hollywood community.
“At the end of the day it’s all about making a good film,” she says. “Our job as film composers is to serve the filmmaker while enjoying the process.”