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Bates said on using themes and motifs in the score, \"Very few movies that are made these days are fantastical enough to sustain huge, bold identifiable themes. Even with the majority of the comic-book films, they have a tendency to be steeped in a realism that would be disturbed or interrupted by highly emotive, melodic themes, and it seems like a lot of the stuff going in these films is propulsive and somewhat cold emotionally.\" He felt that Guardians of the Galaxy did not fit this model, and \"unabashedly embraced leitmotifs for the array of cosmic characters\" that appear in it.[47] Bates described creating a new main theme for a Marvel franchise as \"the most rewarding aspect of stepping into a movie like this\".[46] Gunn asked for \"something kickass that a 4-year-old would remember\", and Bates came up with the theme by \"noodling\" on an electric guitar.[47] The villain Ronan's theme is quoted in full only once in the film, as Bates and Gunn wanted him to be more serious and scary which they felt would be undermined by a loud, melodic theme.[48] His presence is generally represented with tones \"chock full of low-brass\" and synths.[47][48] Bates has \"some spongy synthesizers pulsing through\" the motif for Groot, which he developed in pre-production. Bates said that he would have infused the score with more of those electronic elements if it was not for the \"frenetic working process\" on the film.[46] 1e1e36bf2d