Composer Hans Zimmer says in this video interview:
It was really important for me to figure out how to find, like this
banshee wail ... but it had to be feminine.
After, you know, a hundred
thousand experiments that all went wrong I suddently remembered this
friend of mine, this cellist, Tina Guo, who, when you meet her, is very
elegant, quite ... regal ... and then when she grabs her cello she
becomes ... it's like a sword ... it just becomes ... she does become
the banshee, she does become the Wonder Woman.
Once I figured that
out, you know, all of it is about casting and these musicians we work
with, we cast them as if they were actors ... I just had to find the
right actress. And suddenly it all sort of started to fall into place.
He reiterates the same origin of the theme this interview:
One thing that has bugged me forever is that our superhero movies are
so masculine and male generated. I wanted Wonder Woman to be… I wanted
the music to be full of more female… but you know, I wanted a banshee
wail, like you’ve never heard before.
So my friend Tina Guo, who’s an
amazing electric cellist, basically typecast her, because whenever she
picks up her cello that very nice, very sweet, very polite, young
woman turns into a warrior princess in one go…
There is a different
sound you get from the drummers when we have Sheila E. playing amongst
them. It just gives you a different sound. It gives you just as much
ferocity, but it’s a different type, so we were looking at things like