1 00:00:06,319 --> 00:00:08,800 At the end of the day, 2 00:00:08,800 --> 00:00:10,800 I can tell you everything you need to 3 00:00:10,800 --> 00:00:14,880 know in one word, story. 4 00:00:14,880 --> 00:00:17,279 Stick with the story. Figure out the 5 00:00:17,279 --> 00:00:20,000 story. Stick with the story like glue. 6 00:00:20,000 --> 00:00:22,320 Um, don't abandon the story. Don't 7 00:00:22,320 --> 00:00:25,439 betray the story. Um, know the story you 8 00:00:25,439 --> 00:00:28,560 want to tell. And in in in a funny way, 9 00:00:28,560 --> 00:00:30,480 that's 10 00:00:30,480 --> 00:00:32,320 It sounds like that is actually very 11 00:00:32,320 --> 00:00:35,440 narrow but it's actually huge and vast 12 00:00:35,440 --> 00:00:38,640 because the subtext for the composer is 13 00:00:38,640 --> 00:00:40,719 that there is a subtext because you 14 00:00:40,719 --> 00:00:42,320 don't want to go and tell the story that 15 00:00:42,320 --> 00:00:44,800 they're telling beautifully elegantly in 16 00:00:44,800 --> 00:00:47,039 images and words. You want to go and 17 00:00:47,039 --> 00:00:49,680 slip it underneath and find that bit 18 00:00:49,680 --> 00:00:52,879 that they are not illuminating yet. That 19 00:00:52,879 --> 00:00:55,280 is 20 00:00:55,280 --> 00:00:57,039 that takes the whole thing just that 21 00:00:57,039 --> 00:00:59,760 step further into 22 00:00:59,760 --> 00:01:01,840 um sometimes a metaphysical world, 23 00:01:01,840 --> 00:01:03,840 sometimes into a more emotional world, 24 00:01:03,840 --> 00:01:09,600 sometimes um just figuring out how to 25 00:01:09,600 --> 00:01:11,680 color a scene in a s in a slightly 26 00:01:11,680 --> 00:01:13,520 different way. 27 00:01:13,520 --> 00:01:16,880 But at the end of the day, you are 28 00:01:16,880 --> 00:01:19,840 everybody on the film if if if if it's a 29 00:01:19,840 --> 00:01:22,159 good project, a film becomes successful 30 00:01:22,159 --> 00:01:24,400 because everybody has decided that they 31 00:01:24,400 --> 00:01:27,119 want to tell this one story and it's 32 00:01:27,119 --> 00:01:28,400 just they're using their different 33 00:01:28,400 --> 00:01:30,560 voices to tell that story. I suppose 34 00:01:30,560 --> 00:01:32,560 it's a delicious meal and I suppose at 35 00:01:32,560 --> 00:01:35,600 the end of the day I don't see myself 36 00:01:35,600 --> 00:01:38,880 very differently from a chef. I go, you 37 00:01:38,880 --> 00:01:41,759 know, I you know, here's the task. you 38 00:01:41,759 --> 00:01:44,799 know, the guests are coming at 8:00 39 00:01:44,799 --> 00:01:47,040 and they want to have an experience and 40 00:01:47,040 --> 00:01:49,439 so I go out and I see what's available. 41 00:01:49,439 --> 00:01:50,960 You know, are there fresh tomatoes? Oh, 42 00:01:50,960 --> 00:01:53,040 look, those carrots look good. You know, 43 00:01:53,040 --> 00:01:55,600 potatoes. No, no, no. So, you get all 44 00:01:55,600 --> 00:01:56,960 this stuff and then you spend an 45 00:01:56,960 --> 00:01:59,280 enormous inordinate amount of time 46 00:01:59,280 --> 00:02:01,200 peeling potatoes, chopping onions, and 47 00:02:01,200 --> 00:02:03,280 all that sort of stuff. And then at 10 48 00:02:03,280 --> 00:02:06,320 to 8, you just put it all in the pot and 49 00:02:06,320 --> 00:02:08,399 you have hopefully a delicious and fresh 50 00:02:08,399 --> 00:02:11,920 meal. Um so I don't think the process is 51 00:02:11,920 --> 00:02:15,280 that different. Um 52 00:02:15,280 --> 00:02:18,080 with the one caveat always you just 53 00:02:18,080 --> 00:02:20,640 always in the back of your mind stay on 54 00:02:20,640 --> 00:02:25,319 story stay on story stay on story. 55 00:02:28,640 --> 00:02:30,560 There's an obsessive quality about the 56 00:02:30,560 --> 00:02:32,640 whole thing because what you try to do 57 00:02:32,640 --> 00:02:34,400 is you you're actually trying to figure 58 00:02:34,400 --> 00:02:36,160 out how you're going to live in this 59 00:02:36,160 --> 00:02:38,239 world. So, there's a bit of method 60 00:02:38,239 --> 00:02:41,840 composing that's going on. Um, 61 00:02:41,840 --> 00:02:44,560 where yes, I'm a lot more fun to be 62 00:02:44,560 --> 00:02:47,040 around when I work on a romantic comedy 63 00:02:47,040 --> 00:02:49,760 than I when I work on a when I work on 64 00:02:49,760 --> 00:02:51,280 The Dark Knight. You just don't want to 65 00:02:51,280 --> 00:02:53,519 be around me then, you know? I I do 66 00:02:53,519 --> 00:02:55,519 become the Joker. I do become all of 67 00:02:55,519 --> 00:02:57,519 those things. I found over the years 68 00:02:57,519 --> 00:02:59,680 it's it's 69 00:02:59,680 --> 00:03:01,840 I I I I have a strange way of working 70 00:03:01,840 --> 00:03:03,840 where when I start on a project really 71 00:03:03,840 --> 00:03:06,480 what happens is rather than reading the 72 00:03:06,480 --> 00:03:08,560 script I much rather sit down with the 73 00:03:08,560 --> 00:03:10,400 director and say to him tell me the 74 00:03:10,400 --> 00:03:13,680 story because then I know what's in his 75 00:03:13,680 --> 00:03:16,640 head, what his emphasis is, where his 76 00:03:16,640 --> 00:03:18,879 thoughts are going. you know, he might 77 00:03:18,879 --> 00:03:20,480 not tell me all the details and he 78 00:03:20,480 --> 00:03:22,400 certainly won't uh, you know, won't 79 00:03:22,400 --> 00:03:25,519 recite bits of dialogue to me, but I 80 00:03:25,519 --> 00:03:28,239 know what sort of a movie we were doing. 81 00:03:28,239 --> 00:03:30,400 I mean, when Ridley Scott phoned me and 82 00:03:30,400 --> 00:03:32,000 said, "Hey, let's make a gladiator 83 00:03:32,000 --> 00:03:34,560 movie. It's 9:00 in the morning. I'm not 84 00:03:34,560 --> 00:03:36,720 good at 9:00 in the morning." I started 85 00:03:36,720 --> 00:03:38,239 laughing because I imagined he was going 86 00:03:38,239 --> 00:03:40,480 to make a movie with men in skirts and 87 00:03:40,480 --> 00:03:44,080 sandals. And even though it wasn't a 88 00:03:44,080 --> 00:03:45,920 movie with men in skirts and sandals, it 89 00:03:45,920 --> 00:03:47,200 wasn't a comedy. It was something 90 00:03:47,200 --> 00:03:49,200 completely different. And you know, and 91 00:03:49,200 --> 00:03:50,480 the same thing happened. I said to him, 92 00:03:50,480 --> 00:03:52,480 "Okay, tell me the story." And as he 93 00:03:52,480 --> 00:03:56,000 told me the story, I start 94 00:03:56,000 --> 00:03:58,000 I don't hear tunes, I hear fragments, I 95 00:03:58,000 --> 00:04:00,720 hear sounds, I hear bits, but I'm I'm 96 00:04:00,720 --> 00:04:03,519 starting to narrow in on a common 97 00:04:03,519 --> 00:04:07,040 language that, you know, that that we 98 00:04:07,040 --> 00:04:08,799 can use and and there are lots of ways 99 00:04:08,799 --> 00:04:10,480 of telling a gladiator story. There are 100 00:04:10,480 --> 00:04:13,599 lots of ways of telling. I mean, thin 101 00:04:13,599 --> 00:04:15,680 red line is another example where I sat 102 00:04:15,680 --> 00:04:17,919 sat with Terry Marrick probably for a 103 00:04:17,919 --> 00:04:20,959 year before he started shooting because 104 00:04:20,959 --> 00:04:22,960 lots of war movies had been made, but 105 00:04:22,960 --> 00:04:25,680 there was a way of doing this. There was 106 00:04:25,680 --> 00:04:27,440 there was a different way of doing it. 107 00:04:27,440 --> 00:04:29,280 There was there's always something still 108 00:04:29,280 --> 00:04:32,960 left unsaid in musically and in the 109 00:04:32,960 --> 00:04:35,440 human condition. And I think that's the 110 00:04:35,440 --> 00:04:39,320 sort of thing we aim for. 111 00:04:43,040 --> 00:04:45,040 I think I think the rules come in that 112 00:04:45,040 --> 00:04:46,639 first conversation you have with the 113 00:04:46,639 --> 00:04:49,199 director where he's describing what his 114 00:04:49,199 --> 00:04:52,320 vision is and he tells you the story and 115 00:04:52,320 --> 00:04:54,880 as he's telling you the story, he's 116 00:04:54,880 --> 00:04:58,160 telling it within the framework of his 117 00:04:58,160 --> 00:05:03,120 rules already, you know. Um 118 00:05:03,120 --> 00:05:07,199 I remember really not wanting to 119 00:05:07,199 --> 00:05:09,360 do pirates. Actually, it was ludicrous. 120 00:05:09,360 --> 00:05:12,639 I was working with Gabinsky on the ring. 121 00:05:12,639 --> 00:05:14,720 And I was of going, "So, so what are you 122 00:05:14,720 --> 00:05:16,320 doing next?" He's thinking, he said, 123 00:05:16,320 --> 00:05:18,080 "I'm thinking of doing this pirates 124 00:05:18,080 --> 00:05:21,280 movie." Pirates movie. H uh yeah, it's 125 00:05:21,280 --> 00:05:23,440 from the ride, the Disneyland, right? 126 00:05:23,440 --> 00:05:26,479 Oh, give me a break. What? With the dog? 127 00:05:26,479 --> 00:05:28,320 All this. So I was just making fun of 128 00:05:28,320 --> 00:05:32,240 him all the time, you know, and 129 00:05:32,240 --> 00:05:34,160 you know, so so every, you know, because 130 00:05:34,160 --> 00:05:35,759 we were working on the ring, you know, 131 00:05:35,759 --> 00:05:38,080 and I said, "I'm absolutely no way am I 132 00:05:38,080 --> 00:05:40,400 doing this, right?" And and at a certain 133 00:05:40,400 --> 00:05:43,440 point I said to him, "So so how's how's 134 00:05:43,440 --> 00:05:46,320 this pirate thing going?" You know, um, 135 00:05:46,320 --> 00:05:49,199 well, I got Johnny Depp and 136 00:05:49,199 --> 00:05:51,440 I went, "Tony Deb thinks it's 137 00:05:51,440 --> 00:05:53,759 interesting." Okay. But but I I was just 138 00:05:53,759 --> 00:05:58,320 being me, you know. narcissist. Um, 139 00:05:58,320 --> 00:06:01,680 so I misheard his rules or he never told 140 00:06:01,680 --> 00:06:03,600 me the rules. He never told me the story 141 00:06:03,600 --> 00:06:06,160 he was going to tell. I stopped in my 142 00:06:06,160 --> 00:06:08,960 imagination with it's a pirate movie 143 00:06:08,960 --> 00:06:11,199 based on a riot. What could be a worse 144 00:06:11,199 --> 00:06:15,280 idea? Um, and then one Sunday he phoned 145 00:06:15,280 --> 00:06:18,880 me. um he he got into a bit of trouble 146 00:06:18,880 --> 00:06:20,800 with the music and he said, "Would I 147 00:06:20,800 --> 00:06:23,919 have a look at it and maybe help out a 148 00:06:23,919 --> 00:06:26,880 bit?" Um 149 00:06:26,880 --> 00:06:29,840 and I looked at it and it was nothing 150 00:06:29,840 --> 00:06:32,319 that I could imagine. But there was an 151 00:06:32,319 --> 00:06:34,800 in you know that there was an absolute 152 00:06:34,800 --> 00:06:38,560 world created which followed absolutely 153 00:06:38,560 --> 00:06:41,520 the Gore Vabinsky rules of what this 154 00:06:41,520 --> 00:06:43,600 pirate world and how he was going to 155 00:06:43,600 --> 00:06:47,520 present this was going to be. Um 156 00:06:47,520 --> 00:06:50,080 and had he told me those rules when we 157 00:06:50,080 --> 00:06:51,759 were first starting to talk about it I 158 00:06:51,759 --> 00:06:53,680 would have gone whoa this sounds really 159 00:06:53,680 --> 00:06:55,360 great this is really yummy. This is 160 00:06:55,360 --> 00:06:58,960 fantastic. Um, so the the the rules are 161 00:06:58,960 --> 00:07:00,560 part of that first moment of 162 00:07:00,560 --> 00:07:03,759 storytelling. You know, when um when Guy 163 00:07:03,759 --> 00:07:05,840 phones me up and he goes, "I'm working 164 00:07:05,840 --> 00:07:08,800 on a Sherlock movie and they're putting 165 00:07:08,800 --> 00:07:10,560 as temp music Dark Knight all over it 166 00:07:10,560 --> 00:07:12,800 and I don't like it." He's already 167 00:07:12,800 --> 00:07:15,520 giving me a hint to what the rules are 168 00:07:15,520 --> 00:07:17,919 going to be. And the way he p, you know, 169 00:07:17,919 --> 00:07:19,680 literally that first sentence in in 170 00:07:19,680 --> 00:07:21,840 which he basically is going, "I don't 171 00:07:21,840 --> 00:07:25,120 like your music." that that 172 00:07:25,120 --> 00:07:27,440 unbelievably freeing, unbelievably 173 00:07:27,440 --> 00:07:32,800 liberating, you know, and us going 174 00:07:32,800 --> 00:07:34,960 Sherlock, what if he, you know, what if 175 00:07:34,960 --> 00:07:36,479 he thinks differently? What if he 176 00:07:36,479 --> 00:07:39,680 doesn't play the Bach Patita on the 177 00:07:39,680 --> 00:07:42,240 violin? What what if it's what if it's 178 00:07:42,240 --> 00:07:45,280 like over there, gypsy music? um you 179 00:07:45,280 --> 00:07:48,400 know so so so now we're starting to 180 00:07:48,400 --> 00:07:51,039 define a new set of rules you know and 181 00:07:51,039 --> 00:07:53,599 we just and it's a rules rule of 182 00:07:53,599 --> 00:07:56,160 aesthetic more than anything I think and 183 00:07:56,160 --> 00:08:00,039 you just stick to that 184 00:08:03,599 --> 00:08:06,080 Brianino actually said the thing do you 185 00:08:06,080 --> 00:08:10,160 know what play-doh is like sort of this 186 00:08:10,160 --> 00:08:15,280 um kids uh it's like um 187 00:08:15,280 --> 00:08:18,240 clay, multicolored clay, and comes in 188 00:08:18,240 --> 00:08:20,000 all these beautiful colors. And you 189 00:08:20,000 --> 00:08:21,120 know, when you're a kid, you get all 190 00:08:21,120 --> 00:08:23,120 these beautiful colors and you mash them 191 00:08:23,120 --> 00:08:24,800 all together. And it doesn't matter what 192 00:08:24,800 --> 00:08:27,039 combination you mash together, you 193 00:08:27,039 --> 00:08:30,560 always end up with brown. And so, if you 194 00:08:30,560 --> 00:08:32,719 don't have rules, if you don't go, you 195 00:08:32,719 --> 00:08:36,240 know, I'm going to use red and yellow, 196 00:08:36,240 --> 00:08:38,479 and that's going to be pretty cool for 197 00:08:38,479 --> 00:08:42,320 over here. and I'm going to use blue and 198 00:08:42,320 --> 00:08:44,959 yellow and or you know whatever. You 199 00:08:44,959 --> 00:08:46,800 have to have certain rules otherwise 200 00:08:46,800 --> 00:08:49,600 it's all just brown and nobody's 201 00:08:49,600 --> 00:08:53,200 interested in just brown or beige if 202 00:08:53,200 --> 00:08:56,240 you're even worse. So, you know, for 203 00:08:56,240 --> 00:08:58,880 instance, the rules in Sherlock are, you 204 00:08:58,880 --> 00:09:01,279 know, maintain some sort of intellectual 205 00:09:01,279 --> 00:09:05,200 integrity while at the same time having 206 00:09:05,200 --> 00:09:07,440 a lot of fun with it, but not too much 207 00:09:07,440 --> 00:09:09,120 fun because occasionally you might want 208 00:09:09,120 --> 00:09:13,720 to go and turn 209 00:09:13,839 --> 00:09:15,680 turn sideways and get a little bit of 210 00:09:15,680 --> 00:09:17,680 bit serious. But, you know, the the 211 00:09:17,680 --> 00:09:19,839 other rule is 212 00:09:19,839 --> 00:09:22,000 for Christ's sake, it's another Sherlock 213 00:09:22,000 --> 00:09:23,839 movie. How many Sherlock movies have 214 00:09:23,839 --> 00:09:26,959 there been? So, let's not go and do 215 00:09:26,959 --> 00:09:28,800 certain things. Let's not go and do the 216 00:09:28,800 --> 00:09:32,000 big pretentious orchestral thing. Um, 217 00:09:32,000 --> 00:09:35,440 which I break by re orchestrating Mozart 218 00:09:35,440 --> 00:09:37,120 in the middle of this. But it's not 219 00:09:37,120 --> 00:09:40,320 pretentious. Again, it's a game. 220 00:09:40,320 --> 00:09:42,640 So, once you define the rules of the 221 00:09:42,640 --> 00:09:45,640 game, 222 00:09:46,080 --> 00:09:48,080 it's more fun to watch the game where 223 00:09:48,080 --> 00:09:50,080 somebody cheats in a clever way than 224 00:09:50,080 --> 00:09:52,640 where everybody plays totally by the 225 00:09:52,640 --> 00:09:54,560 rules. And I think that goes for 226 00:09:54,560 --> 00:09:56,800 everything. You know, I I can't think of 227 00:09:56,800 --> 00:09:59,600 a movie where I didn't set myself really 228 00:09:59,600 --> 00:10:02,240 strict rules to then just at one moment 229 00:10:02,240 --> 00:10:04,160 go, 230 00:10:04,160 --> 00:10:06,240 let's break them. And because it it it 231 00:10:06,240 --> 00:10:09,200 adds a freshness to it, you know, bit of 232 00:10:09,200 --> 00:10:11,519 cayenne pepper in the middle of this the 233 00:10:11,519 --> 00:10:13,760 stew.