Original subtitles

There are a couple of surprising things

going on for a blockbuster Batman movie.

I think um one of the things is that

Batman and the Morgan Freeman character

are obviously doing the wrong things

with that surveillance thing. You know,

they are now doing the immoral thing.

And then Chris quite

overtly

uses the AfricanAmerican um prisoner who

you know like he shoots him as if he's

this guy is a really bad guy etc. and

the other guy on the other side the the

businessman you know with the with the

gentle face. um basically turns our

expectations upside down. That the that

the big action scene that is going to

happen right now is not an action scene

that somebody we don't expect to make a

a morally correct choice will make a

morally correct choice. And that and I I

always I always said to Chris, I love

that our action scene is about

the non-event of the bombs going off.

The non-event, you know, the the the the

not the expected thing that it's um

you know,

you're telling the truth by playing

against type. And um you know, the other

piece of baggage that comes with the

scene is that was Heath Ledger's last

scene. So

it's tough to look at. Um

the the idea is the the scene is full of

ideas. The idea of surveillance, is it

moral? Is it immoral? Is is is if we can

go and save the world by using, you

know, cell phones and the NSA and all

that stuff. So eavesdropping on us. is

that mo you know is that the way to save

the world or is relying on

you know s something as simple as the

goodness of one human being in this case

a guy who who you know the way Chris has

framed it the way he's dressed in the

prison orange you know he's got the

tattoos he's got all that stuff and and

and and our instincts are yes he's going

to go you know and when he goes give me

that thing you know it's it's is he

threatening and He's he's the most

moral. He knows how to make the right

moral choice. So So the scene is is

about ideas as opposed to, you know, the

mathematics of an action scene or or the

kineticism of, you know, hey, we can

make this really exciting by by pumping

a lot of fast-paced music underneath it.

I'm actually trying to create an

enormous amount of space which does

create tension and slow everything down

so you really take in what is going on.

You don't want to die but you don't know

how to take a life.

Give it to me.

The me will kill you and take it anyway.

I don't want you to miss the scene by me

doing action.

Fine, I'll do it.

And that that was really sort of where I

was coming from when I said to Chris,

you know, is it okay if I don't write

this as an action scene?

Doesn't make any sense for us to have to

die, too.

And I understand why Chris wanted to do

this as an action scene. You know, the,

you know, the adrenaline is high, etc.

It's and it's in the in in that place of

the movie where you would have an action

scene, you know, geographically that's

where the action scene would take place,

but by by actually making it slower than

what was going on the screen, you know,

it added far more tension and it it was

a bit more elegant to do do it that way.

Give it to me.

You can tell them I took it by force.

give it to me and I'll do what you

should have did 10 minutes ago.

What I wanted was,

and now we're getting technical, that

it's really a big chord.

And as the

scene focuses itself, I mean, as the

story focuses itself, all these

different notes converge onto one note

and then split apart again.

We really should stop this fighting.

always will miss the fireworks.

There won't be any fireworks. And here

we go.

It took me a while to figure out how to

do this, which I kept hearing in my

head. And um you know a a lot of what

happens at my place is is we but I hear

something in my head and it doesn't

exist. We have people like there's a

chap called Mark Wary um who just build

me a sampler that could do that so that

I could literally take the strings take

all the different notes and just

converge them into this one focal point

and do it really slowly. I mean, a part

of part of what I think people don't

understand is to play really slowly is

really difficult. Um, and but there's a

beauty to it. There's a, you know, I I

don't see this as

I mean I it might be dissonant, but to

me it's beautiful.

The converge thing makes everything

unstable until it lands on that note.

And even that note doesn't necessarily

say everything is going to be good.

The scene isn't over yet. Now I'm

letting the actor do it. I'm I'm sort of

letting the actor do it and I'm sort of

letting the audience do it. You know,

again, that's why even though Chris

Chris plays the music really loudly and

there's, you know, um, electronically

and mathematically something fairly

complex going on, I still think it's

it's it's done in a way that that makes

you think. And I quite like it if you

don't treat your audience like sheep,

but you make them think. We work with a

very good music editor called Alex

Gibson. And Alex is just sort of uh I

sometimes like just I just give him it's

it's like I just give him clay. I just

give him a few notes, give him some

stuff and

weird things start happening where oh

where I'm going, oh wow, I never would

have thought of using those notes in

that way. And sometimes it works and

sometimes it doesn't. Sometimes it

doesn't work because it was a really bad

idea in the first place. But you have to

go all the way through to prove that it

was. Sometimes it doesn't work because

you you're not actually good enough yet

to execute the intellectual conceit of

an idea and sometimes it doesn't work

because the original idea hence can you

just go and play an action scene is the

right idea and I don't think we can tell

until we do it and I think we can't tell

until you know and and and and the

process is very different where we don't

really preview. Um, so it it they're

made in great privacy, you know, and uh

people always think we're being

secretive, but we're not being

secretive. We're just being, you know,

by by being very private, we can try

things like that

and not let the fear of failure

cloud our judgment, you know. So if we

like it, we like it, you know. And um

why would I want to put something in

front of an audience that I didn't like?