In 480 BC, King Leonidas of Sparta personally led 300 Spartans to fight against the millions of Persian troops led by King Xerxes I of Persia in front of the pass of Sembili Mountain, commonly known as the Hot Spring Pass. The heroic fighting spirit of Sparta inspired the Greek people to rise up against the Persian army and jointly prevent the invasion and occupation of the Persian army, so that the budding western democracy at that time kept the last line of defense.
The film "300 Heroes: Sparta's Counter-Strike" is adapted from the picture book novel of the same name by wicked city author Frank Miller, and describes the heroic war between Persia and Greece. This technical film, which combines real-life performances and computer virtual scenes, was directed by Chuck Snyder, a new British director. He was nominated for the Photography Award at the Cannes Film Festival in 2004 for his directorial debut Eat the Living.
Tyler bates, a musician, worked with the film director on Eating the Living. He was born in Los Angeles and grew up in Chicago. In the early 1990s, Bates entered the fields of film music and experimental rock. On the one hand, she helps some B-rated films to create music, on the other hand, she forms a pet band with singer Lisa Papineau. Tori Amos, a female singer, persuaded the Atlantic brand to sign the band "Pets" after watching the performance of "Pets" in a club in Los Angeles. When the pet band began to become popular with Limp Bizkit and Blink 182, Bates suddenly had the desire to compose music for the film. 1997, Bates announced that he had left the orchestra and devoted himself to the field of film music creation. He made his mark with films such as High Spirit starring Keanu Levi and Killing starring Stallone. From 2004 to 2007, Bates gradually established his position in the field of audio-visual creation of thriller and horror films under the series of works such as Eating the Living Raw, The Ripper, Castle of the Evil Spirit 3 and Moonlight Panic.
Facing this revolutionary film with themes of love, freedom, faith, brotherhood, justice, fear, death and glory, Bates used percussion to strengthen the dynamic energy of the battle scenes in the film, and then switched the drama themes stated in the film through the overlapping changes of timbres with deep emotional tension of large orchestras, choirs and Iranian female singer azam ali's chorus (Billboard praised her as a dazzling and unforgettable vocal instrument). In addition, Baylor also designed a colorful scene sound stage for the film through layered vocal singing and instrumental music, which activated the mythical color and horror atmosphere in the film anytime and anywhere.