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The way I work is I talk to a director

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usually before they go out to shoot the

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movie. So a year in advance of actually

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going in and recording this stuff, some

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conversation happens with the about the

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intention why we want to do this movie,

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how we want to do this movie

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and

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then something happens. The director

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goes off to shoot the movie and that is

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basically the director is going to

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battle. the director goes to war and he

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comes back wrecked, you know, 3 4 months

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later. I mean, he has now answered a

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thousand million insane trivial

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questions. He's been thinking on his

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feet all the time. Things have gone

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wrong. Um, the money's run out. You

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know, it rained on the day he needed

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sunshine and it was sunny on the day he

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he needed rain. So by the time he comes

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back into my room,

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he's a changed man. And

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the other thing that happens is

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he might not quite remember why we

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wanted to go and make this movie in the

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first place because he's bloodied and

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beaten and exhausted.

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And so part of my job, I always see this

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as part of my job is that the first

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conversation we have when he returns

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from battle is that I remind him why we

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wanted to go and do this thing in the

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first place. And then I remind him of

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some of the instincts and some of the

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things that we wanted to do and um and

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the things that we were looking forward

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to doing and and just sort of remind him

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why this is actually a good idea.

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speak in plain English if you can and if

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they're German, speak in German. No, no,

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no. Just you use your words. You know,

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it's like what they teach you as a kid.

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Use your words and don't get technical.

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Don't make it into a technical

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conversation about a minor 7th chord and

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augmented chords and triads and don't

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don't have the conversation, you know, I

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which is one I'm prone to where I get

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nerdy and I go, "Oh, I want to go and

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use a Moog 55 because,

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you know, and I can get all nerdy about

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this or should we record this on real

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tape or should we do this digitally and

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you know and I can get all carried away

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in this and it has nothing to do with

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anything. this is just this is you know

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this is the sidebar that I'm going to

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have with my guys you know my

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technicians etc or have with myself and

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then I you know because all you want to

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do is you want to present a piece of

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music or a sound I mean sometimes it's

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just a sound and you you want to go what

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do you think cool sound um you know is

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this right for this movie does this feel

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right does this work with the images and

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nobody cares how you got there sometimes

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you know with govinsky he'll go, you

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know, go from the dominant chord to the

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tonic or something. I just think a gore,

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come on. You know, it's like,

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let me rock out here.

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Being that specific about it, he robs

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himself of the possibility of being

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surprised of something happening that,

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you know, yeah, I understand what he's

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trying to do. He's trying to get from,

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you know, a question to an answer or

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he's trying to get into a new thing. Um,

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and might there be a more surprising and

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interesting way of doing it?

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Temp music is a uh, you know, everybody

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keeps going on about, you know, temp

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music is ruining creativity, temp music

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is ruining our movies, etc. Yeah. And I

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and I've had it where uh, director, you

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know, I'm not going to name names or the

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movie, but where director screened a

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movie with music from a previous one of

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my films on it and the screening went

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through the roof. I mean way beyond

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expectation.

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Um

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and

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so after that because of the success of

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this of the screening um I was suddenly

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caught in the situation where he wanted

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exactly what I had done before for

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another movie and first of all you don't

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want to do what you've done for another

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movie that that belongs to that movie.

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So I realized that

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successful temp can stop any forward

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motion and creativity

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and you just you know and you just have

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to fight it. I mean remember temp music.

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One of the problems with temp music is

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they're all finished tracks and you can

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pick the best scores and the best music

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ever written and just line one up after

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the other. I mean, my editor, Bob, once

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put um

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um Samuel Barber's Adagio for strings up

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as temp music, and everybody loved it.

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And I was just going,

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"What are you trying to do? Kill me?"

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You know? Yes. Two weeks later, I'm

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still trying to write something as good

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as that, you know. I had to cancel

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orchestra sessions literally. I mean,

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and you know, it it it you know, the

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burden of that was just so impossible.

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So, I'm recommending to do what we've

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been doing more and more, which is not

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use temp music at all. Um,

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with Chris Nolan, I mean, I think

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everybody knows this. He doesn't like

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using temp music. He wants things which

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are written for his movie, even if

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they're not finished. Even if they're

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just like little yellow post-it stamps

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you put on a fridge which just have a

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bit of a tune on them, but it's just off

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that movie. If you can start early

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enough and you have a good music editor

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and you guys can just work hand in hand,

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there's no no real reason you need to go

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and put a temp on. If you know how to

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use a computer, if you know how to use

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synthesizer, if you know how to

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basically

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fake up the sound of the score,

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The ideal situation to have is if you

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know and maybe we should talk about this

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for for a second.

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For me, the ideal situation to be in is

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is that the director, the editors, every

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and I, we're all in the same building.

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So, um, you know, we don't do this thing

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where, you know, can you come by on

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Friday at 3:00 and have a have a meeting

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and then there's an either very little

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to play, which is a bit of a

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disappointment, or there's far too much

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to play to have a serious discussion

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about it. So, if we can just see each

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other every day, I mean, right now, this

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this was the gladiator cutting room

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you're in, you know, and and my room was

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actually next door. And so, uh, you

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know, we just walk into each other's

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room. And I mean, one of the things

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that's important to me is to just be

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able to walk in, you know, in the old

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days it was I I I would literally walk

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into the cutting room and just pick up a

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bit of film, you know, that they'd cut

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off and just sort of touch it. You just,

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you know, just to remind myself what

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what the movie is we're working on. So

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the there's all this there's

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experimentation time going on all the

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time. Um Ron Howard always thinks of the

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way this room works. is like the

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laboratory and even when we run out of

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time I mean he always

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he always you know just as he's leaving

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he he always says Hans make sure that we

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don't shut the laboratory doors too soon

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because the you know the there's

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deadline here and it's a brick wall and

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we're hurtling towards it but we in we

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have to have the luxury to experiment

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and try these things and you know we're

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not for the last second None of it would

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have been written.