Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:12,320 --> 00:00:13,920
When I'm sitting next to the director
2
00:00:13,920 --> 00:00:17,039
and we're watching the piece of music up
3
00:00:17,039 --> 00:00:19,439
against the screen and we're watching it
4
00:00:19,439 --> 00:00:21,039
together, he doesn't have to say
5
00:00:21,039 --> 00:00:23,039
anything to me. You know, I I I'm
6
00:00:23,039 --> 00:00:26,000
usually the first one to go, "Yes, I
7
00:00:26,000 --> 00:00:28,160
know it's completely wrong and I know
8
00:00:28,160 --> 00:00:32,399
what to do." And what was interesting
9
00:00:32,399 --> 00:00:34,160
for instance when I was working on
10
00:00:34,160 --> 00:00:35,840
Batman Begins in in the sort of
11
00:00:35,840 --> 00:00:38,559
collaboration between James Newton
12
00:00:38,559 --> 00:00:40,960
Howard, myself and Chris Nolan because I
13
00:00:40,960 --> 00:00:44,480
I I was watching
14
00:00:44,480 --> 00:00:46,320
you know sort of slightly out of body
15
00:00:46,320 --> 00:00:48,640
experience or you know I was watching
16
00:00:48,640 --> 00:00:50,719
how tough it is on the director to
17
00:00:50,719 --> 00:00:52,800
actually go and he knows how hard you
18
00:00:52,800 --> 00:00:55,120
worked on it and he doesn't he you know
19
00:00:55,120 --> 00:00:57,680
he doesn't want to go and be rude about
20
00:00:57,680 --> 00:00:59,600
it or whatever but If it doesn't work,
21
00:00:59,600 --> 00:01:01,760
it doesn't work. And it's very hard to
22
00:01:01,760 --> 00:01:04,640
have to look somebody in the eye and go,
23
00:01:04,640 --> 00:01:06,720
I know you sweated bullets over this
24
00:01:06,720 --> 00:01:08,720
thing, but it's just not working for me.
25
00:01:08,720 --> 00:01:11,520
It's tough. And so, when it was the
26
00:01:11,520 --> 00:01:13,360
three of us, when it was James, Chris,
27
00:01:13,360 --> 00:01:16,479
and I, you know, if there was some if
28
00:01:16,479 --> 00:01:20,000
there was something that um Chris didn't
29
00:01:20,000 --> 00:01:23,600
like about an approach or or if if there
30
00:01:23,600 --> 00:01:25,680
was a better idea to be had or whatever,
31
00:01:25,680 --> 00:01:27,759
it was a conversation. He didn't have to
32
00:01:27,759 --> 00:01:29,439
just look me straight in the eye because
33
00:01:29,439 --> 00:01:31,200
as I'm going, "Oh my god, what am I
34
00:01:31,200 --> 00:01:32,640
going to do?" James also really coming
35
00:01:32,640 --> 00:01:34,400
up with, you know, hey, what about if we
36
00:01:34,400 --> 00:01:38,400
do this and try this? So,
37
00:01:38,400 --> 00:01:41,040
the revisions are just about getting it
38
00:01:41,040 --> 00:01:44,159
to be better. Well, and and better isn't
39
00:01:44,159 --> 00:01:46,320
necessarily the quality of the music,
40
00:01:46,320 --> 00:01:49,200
but it's understanding what we're trying
41
00:01:49,200 --> 00:01:52,320
to say in this scene and just getting
42
00:01:52,320 --> 00:01:56,280
better at executing it.
43
00:02:00,240 --> 00:02:02,240
The first revision really happens as I
44
00:02:02,240 --> 00:02:04,399
write this musical diary, which is just
45
00:02:04,399 --> 00:02:07,360
my way of figuring myself into the
46
00:02:07,360 --> 00:02:09,360
story, into the material, into the
47
00:02:09,360 --> 00:02:12,160
director's brain, into the style we're
48
00:02:12,160 --> 00:02:13,920
going to be presenting this thing in.
49
00:02:13,920 --> 00:02:16,879
And it's really me learning the movie.
50
00:02:16,879 --> 00:02:19,120
So there is a revision process that goes
51
00:02:19,120 --> 00:02:20,720
on all the time. Even though I don't go
52
00:02:20,720 --> 00:02:23,920
backwards, as I move forwards, I'm, you
53
00:02:23,920 --> 00:02:26,319
know, revising my aim. I mean, I'm
54
00:02:26,319 --> 00:02:29,120
getting more precise about what it is,
55
00:02:29,120 --> 00:02:31,040
you know, what the thing itself is that
56
00:02:31,040 --> 00:02:32,879
I'm trying to say. And music is
57
00:02:32,879 --> 00:02:34,800
indefensible in a funny way. I mean, one
58
00:02:34,800 --> 00:02:37,519
of the pro one of the problems with
59
00:02:37,519 --> 00:02:40,239
music is it's indefensible. You cannot
60
00:02:40,239 --> 00:02:43,120
argue about music. You either like it or
61
00:02:43,120 --> 00:02:45,360
you don't. It either moves you or it
62
00:02:45,360 --> 00:02:49,599
doesn't. But um so sometimes you know if
63
00:02:49,599 --> 00:02:52,319
it literally becomes doesn't do anything
64
00:02:52,319 --> 00:02:55,280
for me great okay chuck it out start
65
00:02:55,280 --> 00:02:58,239
again um but usually by the time I play
66
00:02:58,239 --> 00:03:01,680
something to a director um I know why
67
00:03:01,680 --> 00:03:04,560
those notes are there just
68
00:03:04,560 --> 00:03:07,040
as he knows why that scene is there or
69
00:03:07,040 --> 00:03:09,040
why that shot is there or why the camera
70
00:03:09,040 --> 00:03:12,000
is is at a certain angle and why this is
71
00:03:12,000 --> 00:03:14,080
a night scene as opposed to some
72
00:03:14,080 --> 00:03:15,599
breakfast scene even though the light
73
00:03:15,599 --> 00:03:17,680
would have been better at 5:00 in the
74
00:03:17,680 --> 00:03:20,720
morning, etc. But we
75
00:03:20,720 --> 00:03:23,599
we sort of intellectually can defend the
76
00:03:23,599 --> 00:03:25,680
thing. The only thing we can't do is I I
77
00:03:25,680 --> 00:03:27,840
I will never be able to talk you into
78
00:03:27,840 --> 00:03:30,640
liking a certain piece of music and I
79
00:03:30,640 --> 00:03:32,799
will not ever attempt it. I because I
80
00:03:32,799 --> 00:03:36,000
just what's the point? What's the point,
81
00:03:36,000 --> 00:03:38,400
you know? Um
82
00:03:38,400 --> 00:03:40,640
and then it's just things we discover
83
00:03:40,640 --> 00:03:42,239
together, you know? Oh, hang on a
84
00:03:42,239 --> 00:03:45,360
second. If if we moved this if we moved
85
00:03:45,360 --> 00:03:47,440
the whole queue down 20 ft I mean that
86
00:03:47,440 --> 00:03:49,040
was the Terry Malik thing we would go
87
00:03:49,040 --> 00:03:52,080
and that journey to the line piece which
88
00:03:52,080 --> 00:03:53,840
is
89
00:03:53,840 --> 00:03:55,760
is it 7 minutes long something like that
90
00:03:55,760 --> 00:03:58,640
it's pretty it's it's lengthy we spend
91
00:03:58,640 --> 00:04:01,439
all day moving it by one frame later
92
00:04:01,439 --> 00:04:03,680
watching it
93
00:04:03,680 --> 00:04:06,720
moving it two frames earlier watching it
94
00:04:06,720 --> 00:04:10,080
you know I mean uh
95
00:04:10,080 --> 00:04:11,840
we knew the piece was good and we knew
96
00:04:11,840 --> 00:04:14,879
the film almost good. It's just it's all
97
00:04:14,879 --> 00:04:16,320
a bit like, you know, you're sitting
98
00:04:16,320 --> 00:04:19,919
there under an apple tree in the middle
99
00:04:19,919 --> 00:04:21,600
of summer and you're just holding your
100
00:04:21,600 --> 00:04:24,639
hand out and just that apple just drops
101
00:04:24,639 --> 00:04:26,320
off the tree right into your hand. I
102
00:04:26,320 --> 00:04:28,400
mean, that's how you want the music in
103
00:04:28,400 --> 00:04:30,880
the scene to work. And it's not always
104
00:04:30,880 --> 00:04:34,639
that easy, but the So, the revisions are
105
00:04:34,639 --> 00:04:38,199
happening constantly.
106
00:04:42,160 --> 00:04:43,759
I can't remember what movie it was on,
107
00:04:43,759 --> 00:04:47,360
but I was secretly quite proud of a
108
00:04:47,360 --> 00:04:51,600
little Qite written and I came outside
109
00:04:51,600 --> 00:04:54,960
my studio and Harry Gregson Williams was
110
00:04:54,960 --> 00:04:56,880
walking down the hallway and I said,
111
00:04:56,880 --> 00:04:58,400
"Hey, Harry, can I just play you
112
00:04:58,400 --> 00:05:01,360
something?" Thinking
113
00:05:01,360 --> 00:05:04,000
this, you know, showing off, right? This
114
00:05:04,000 --> 00:05:05,759
is always
115
00:05:05,759 --> 00:05:07,840
where it always goes wrong. So pray
116
00:05:07,840 --> 00:05:09,199
Harry this thing. I'm going what do you
117
00:05:09,199 --> 00:05:12,960
think? He goes oh hands Hansel as he
118
00:05:12,960 --> 00:05:15,680
calls me that is so not worth worthy of
119
00:05:15,680 --> 00:05:18,400
you you know and and you go okay
120
00:05:18,400 --> 00:05:21,440
revision you know might want to go and
121
00:05:21,440 --> 00:05:24,639
and and listen to somebody who has my
122
00:05:24,639 --> 00:05:27,440
best interest at heart.
123
00:05:27,440 --> 00:05:31,120
Seriously it's it's look you and me
124
00:05:31,120 --> 00:05:33,120
we're having a bit of a chat here. I you
125
00:05:33,120 --> 00:05:35,520
can ask me anything you want and I will
126
00:05:35,520 --> 00:05:36,960
tell you anything. I'll talk about
127
00:05:36,960 --> 00:05:40,000
anything. But when it comes to playing a
128
00:05:40,000 --> 00:05:42,800
piece of music, I become very very
129
00:05:42,800 --> 00:05:45,600
fragile because it's sort of,
130
00:05:45,600 --> 00:05:47,440
you know, I keep describing it as its
131
00:05:47,440 --> 00:05:49,120
own autonomous language and all that
132
00:05:49,120 --> 00:05:51,039
stuff. Well, that there's a downside to
133
00:05:51,039 --> 00:05:55,120
that. I feel you can absolutely and
134
00:05:55,120 --> 00:05:57,199
completely
135
00:05:57,199 --> 00:05:59,199
figure out who I am when I play you this
136
00:05:59,199 --> 00:06:00,639
piece of music. It's the most personal
137
00:06:00,639 --> 00:06:05,199
and private thing I can do. So before I
138
00:06:05,199 --> 00:06:07,680
unleash it on the director and I never
139
00:06:07,680 --> 00:06:09,199
look at them when I play it to them for
140
00:06:09,199 --> 00:06:10,639
the first time just in case there's like
141
00:06:10,639 --> 00:06:12,639
a shadow of disdain running across their
142
00:06:12,639 --> 00:06:16,080
face. I play it to to my music editor
143
00:06:16,080 --> 00:06:19,360
because you know I work with a Bob Adam
144
00:06:19,360 --> 00:06:22,639
for god I don't know we're very very
145
00:06:22,639 --> 00:06:24,880
old. The two of us together probably
146
00:06:24,880 --> 00:06:28,000
yeah we are more than a century. um you
147
00:06:28,000 --> 00:06:31,280
know, Alex Gibson, um Melissa Mu, these
148
00:06:31,280 --> 00:06:34,400
are all people that I, you know, I trust
149
00:06:34,400 --> 00:06:36,880
with more than my life cuz that's what
150
00:06:36,880 --> 00:06:39,120
it feels like because when you when you
151
00:06:39,120 --> 00:06:41,680
play that piece of music,
152
00:06:41,680 --> 00:06:44,080
like you can't [ __ ] you know,
153
00:06:44,080 --> 00:06:49,280
that's this is it moment of truth. And I
154
00:06:49,280 --> 00:06:50,560
don't want to I don't want to hear any
155
00:06:50,560 --> 00:06:52,400
great praise, etc. and they they know
156
00:06:52,400 --> 00:06:54,240
exactly how to react and because I just
157
00:06:54,240 --> 00:06:56,080
ask them, you know, and it's very
158
00:06:56,080 --> 00:06:58,560
simple. It's very binary. I go, "Is it
159
00:06:58,560 --> 00:07:02,080
[ __ ] or is it not [ __ ] If it's not
160
00:07:02,080 --> 00:07:06,199
[ __ ] we can play it."
161
00:07:10,319 --> 00:07:12,479
With the the great directors I get to
162
00:07:12,479 --> 00:07:15,440
work with, they
163
00:07:15,440 --> 00:07:17,360
they they don't even go, "Oh, yeah, this
164
00:07:17,360 --> 00:07:19,120
is good or this is bad." or they they
165
00:07:19,120 --> 00:07:21,039
instantly go into okay well this is
166
00:07:21,039 --> 00:07:22,960
great and you know this can it triggers
167
00:07:22,960 --> 00:07:25,120
a whole set of conversation and ideas
168
00:07:25,120 --> 00:07:27,360
and where we can go and take it because
169
00:07:27,360 --> 00:07:30,319
of course I lie to them. I pretend, you
170
00:07:30,319 --> 00:07:32,319
know, it just came to me suddenly and it
171
00:07:32,319 --> 00:07:33,919
took me 10 minutes to do when I was
172
00:07:33,919 --> 00:07:36,400
really sweating for six weeks, you know,
173
00:07:36,400 --> 00:07:39,199
and um going through, you know, panic
174
00:07:39,199 --> 00:07:42,720
attacks and everything else. Um so, so
175
00:07:42,720 --> 00:07:47,199
they know, you know, they they know
176
00:07:47,199 --> 00:07:48,880
they know I'm fragile and they'll
177
00:07:48,880 --> 00:07:51,120
respect that. Yeah. I remember Chris
178
00:07:51,120 --> 00:07:52,800
Nolan once saying to me with a piece
179
00:07:52,800 --> 00:07:54,639
that I I didn't really believe in
180
00:07:54,639 --> 00:07:56,800
either, going, "Well, maybe that should
181
00:07:56,800 --> 00:07:58,639
be for another movie." I'm going, "Yeah,
182
00:07:58,639 --> 00:08:00,240
I know exactly what you mean. Let's spin
183
00:08:00,240 --> 00:08:02,400
it." You know, it's a very gentle, you
184
00:08:02,400 --> 00:08:04,800
know, a gentle way of telling telling me
185
00:08:04,800 --> 00:08:08,319
it wasn't, you know, and and I mean,
186
00:08:08,319 --> 00:08:10,000
that's that's part of it where, you
187
00:08:10,000 --> 00:08:11,759
know, we're we're fragile when we do
188
00:08:11,759 --> 00:08:14,080
this stuff. And so,
189
00:08:14,080 --> 00:08:16,800
I remember one one of the first
190
00:08:16,800 --> 00:08:18,240
directors I ever worked with, you know,
191
00:08:18,240 --> 00:08:20,080
when I was doing small independent films
192
00:08:20,080 --> 00:08:22,240
in England, he was just really rude to
193
00:08:22,240 --> 00:08:24,960
me all the time before I had even
194
00:08:24,960 --> 00:08:26,479
written anything. So, I hadn't I hadn't
195
00:08:26,479 --> 00:08:29,280
made a mistake yet. I finally said to
196
00:08:29,280 --> 00:08:31,759
him, you know, why are you being so
197
00:08:31,759 --> 00:08:33,519
grumpy all the time with me? And he
198
00:08:33,519 --> 00:08:35,200
goes, "Well, I just want you to know
199
00:08:35,200 --> 00:08:37,279
where you're at. That when I hear that
200
00:08:37,279 --> 00:08:39,599
piece of music and I say it's great, I
201
00:08:39,599 --> 00:08:41,519
really mean it and I really tell you the
202
00:08:41,519 --> 00:08:44,080
truth." And really, honestly, that's
203
00:08:44,080 --> 00:08:45,760
what you want. I mean, I've I've had a
204
00:08:45,760 --> 00:08:47,920
situation where a director would tell
205
00:08:47,920 --> 00:08:50,800
me, "Oh, it's just marvelous, darling.
206
00:08:50,800 --> 00:08:52,080
It's just the best thing I've ever
207
00:08:52,080 --> 00:08:54,959
heard. It's just so great. It saved my
208
00:08:54,959 --> 00:08:57,760
the line. I am not making this up. You
209
00:08:57,760 --> 00:09:01,200
saved my movie except and then he
210
00:09:01,200 --> 00:09:03,920
started digging into it and it it
211
00:09:03,920 --> 00:09:05,920
carried on digging into it until we
212
00:09:05,920 --> 00:09:08,399
basically got to the truth which was he
213
00:09:08,399 --> 00:09:10,640
preferred the temp and temp was written
214
00:09:10,640 --> 00:09:13,519
by me. So it wasn't like he wasn't even
215
00:09:13,519 --> 00:09:15,839
saying somebody else was better. He was
216
00:09:15,839 --> 00:09:18,560
being in a peculiar way more insulting
217
00:09:18,560 --> 00:09:21,760
by saying I used to be good. But somehow
218
00:09:21,760 --> 00:09:23,839
you know your job is you just figure out
219
00:09:23,839 --> 00:09:25,760
figure out what the idea is and you you
220
00:09:25,760 --> 00:09:27,680
know you phone your director and go hey
221
00:09:27,680 --> 00:09:29,040
look I have an idea what if we
222
00:09:29,040 --> 00:09:30,640
approached it from a completely
223
00:09:30,640 --> 00:09:33,440
different angle or something like that.
224
00:09:33,440 --> 00:09:35,760
It's your job to figure out how to fix
225
00:09:35,760 --> 00:09:40,640
it. You know you broke it you fix it.16950
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.
Afrikaans
Akan
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bemba
Bengali
Bihari
Bosnian
Breton
Bulgarian
Cambodian
Catalan
Cebuano
Cherokee
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
Dutch
Esperanto
Estonian
Faroese
Finnish
Galician
Georgian
German
Greek
Guarani
Haitian Creole
Hausa
Hawaiian
Hebrew
Hmong
Hungarian
Icelandic
Indonesian
Irish
Italian
Japanese
Kazakh
Kinyarwanda
Kirundi
Kongo
Korean
Krio (Sierra Leone)
Kurdish
Kyrgyz
Laothian
Latin
Latvian
Lithuanian
Luganda
Luo
Luxembourgish
Macedonian
Malagasy
Malay
Maltese
Maori
Mauritian Creole
Moldavian
Mongolian
Myanmar (Burmese)
Montenegrin
Nepali
Norwegian
Pashto
Persian
Polish
Portuguese (Brazil)
Portuguese (Portugal)
Quechua
Romanian
Romansh
Russian
Samoan
Scots Gaelic
Serbian
Sesotho
Setswana
Seychellois Creole
Shona
Sindhi
Sinhalese
Slovak
Slovenian
Somali
Spanish
Swedish
Tajik
Thai
Tigrinya
Tonga
Turkish
Turkmen
Ukrainian
Uzbek
Vietnamese
Welsh
Wolof