When the screen fades to black and a booming score kicks in, you’re likely watching a movie trailer—and there’s a good chance Brent Daniels had something to do with that moment. As one of the most active composers in the world of trailer music, Brent’s sound has become part of the emotional buildup to countless blockbusters. But behind that perfectly timed bass drop is a fascinating process most people know nothing about.
What is Trailer Music, Really?
Unlike full film scores that accompany an entire movie, trailer music is its own beast. It’s short-form, high-impact, and designed to sell. In many ways, it’s more about storytelling in 60 seconds than composing for two hours. It’s also more than just music—it’s a key part of a marketing campaign, often constructed before the film is even finalized.
Meet Brent Daniels
Brent Daniels is a composer whose work has been featured in trailers for Bullet Train, Black Panther, The Bad Batch, Hawkeye, and more. He didn’t set out to work in this niche; instead, his journey began with piano lessons in fourth grade and a passion for sound that never let go. His career took shape through a mix of traditional music production and a shift into what’s known as sync licensing—the art of getting music into media.
From Studio to Screen
In the trailer world, music is usually created long before any footage is seen. Composers like Brent create tracks that are pitched to trailer houses (production companies that specialize in trailers). These editors then cut footage to match the music. This is why Brent can have one track—like his piece “Cold Cocked”—appear in completely different projects, from Bullet Train to The Bad Batch to a Destiny video game promo.
That’s right: the same exact track can power multiple trailers across genres and platforms. Because the music is licensed, not sold outright, the composer retains rights and can license it again and again.
The Business of Sync Licensing
Trailer music lives in a special corner of sync licensing, where composers create libraries of ready-to-use tracks. If a trailer house or studio likes a track, they request what’s called the “stems”—individual layers of the song like drums, synths, or strings. This lets editors remix and adapt the song to fit their visual cuts without needing the composer’s direct involvement.
Brent emphasizes that trailer music is speculative. You don’t get paid unless your music is selected, which makes every placement feel like a small miracle. Still, the payoff can be substantial, especially for tracks that become widely reused.
Creativity Meets Commerce
Brent’s process is both deeply creative and strategically smart. He designs each track to tell a mini story, building it like a three-act arc with a cinematic climax. At the same time, he considers the needs of editors and marketers—leaving space for voiceovers, building tension, and crafting signature sounds that grab attention fast.
With the rise of streaming platforms and endless new content, the demand for unique, emotionally charged trailer music has never been higher. For composers, it’s a golden age of opportunity—if you know how to tap into it.
The Sound You Never Noticed (But Always Felt)
Brent Daniels may not be a household name, but you’ve definitely felt his work. His tracks set the tone for anticipation, adventure, and action across some of the world’s biggest trailers. His career is proof that incredible creative careers can thrive behind the curtain—quietly shaping what audiences feel before the film even begins.