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If you just look at the Ridley Scott

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movies, you know, Thermal Ruiz is a very

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different aesthetic musically from

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Gladiators, a very different aesthetic

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from Black Rain is a very different

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style from uh from Mstig Men. What else

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they do with Red? Blackhawk Down, you

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know, it's Hannibal. I mean, they're all

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they're completely

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stylistically they're very very

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different and and it's and he's very

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very different as well in them. Um

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because because that's the whole thing.

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I mean, you know, it's, you know, one of

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the reasons I think he's such a great

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director is is because he's interested

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in so many things and he can get

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passionate about so many things, you

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know, and there's a underlying aesthetic

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and and and and a huge amount of

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knowledge and craftsmanship that goes

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with being able to, you know, oh, we're

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going to go and tell the story of

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Hannibal Lecter. Oh, we're going to tell

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the story of a battle in Mogadishu. or

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we're going to tell the story of some

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con man in the valley. Um, so

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or a gladiator, you know, so so

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and the and you know and and really I

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know I just know this about him. I feel

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this. I never talked about this, but you

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know, if I had to sum it all up is he's

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genuinely interested in people and he's

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genuinely interested in stories.

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And everybody looks at the amazing way

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he shoots things and the amazing

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compositions and the amazing eye he has

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and the amazing artistry. But underneath

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underneath underneath all that the the

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the foundation for all all of that is he

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wants to go and tell a good story.

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I think at the end of the day the

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director composer relationship comes

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down to something. It has to come down

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to trust because the director is sort of

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in charge of everything during the

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shooting of the movie. He can look

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through your camera and he can probably

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adjust a few things here. He can

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probably do a line reading for an actor

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if he really has to. But when it comes

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to composer, you know, you he has to

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trust me because if he says to me, you

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know what, a nice C major chord here

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would be the perfect thing, it it's

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meaningless. I see it so often that that

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that filmmakers

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find it hard to

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take the step off the cliff because

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that's really what it is, you know. Now,

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you know, they've been involved in the

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script, they've been involved in the

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casting, they've been involved in

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everything. And by being involved, I

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mean, they had language

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and eyes and whatever, you know, uh,

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words to control the situation, to

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control their movie.

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And

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then they suddenly get to that bit of we

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need music and whatever words they use

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and whatever whatever it is, however

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articulate they are, it's still not

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going to get the music written. So they

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have to go and hand over literally the

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baton to to to the composer. And

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oh god, the second movie I did over here

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for Ridley Scott, Black Rain, you know,

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and I had heard that Ridley had a bit of

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a reputation of uh

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not sticking with the composer sometimes

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beyond the first session. Um so I just

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said to him, Ridley, what what what

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it'll take for me not to get fired. He

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said, simple. Don't write me a symphony.

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And I knew exactly what he meant. He

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said, "Write,

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you know, surf the movie, enhance the

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movie, elevate the movie, be about the

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movie. Don't be about, oh, but isn't my

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music fabulous or something like that,

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you know? Um, yeah, you have to have you

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have to have a strong ego, but it's it

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it can't be a destructive one. The ego

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has to be the ego of the process, the

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ego of the film making, you know, and

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at the end of the day, you realize we're

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all alone in this together.

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I remember um Chris being very worried

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about

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about a certain scene in Dark Knight. He

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kept he kept bringing it up saying,

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"This has to play like an action scene.

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Has to be fast. It's got to be really

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fast music." And and I looked at it and

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I went I thought, "No, it's got to be

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the slowest music I've ever written."

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Um, so I wrote this piece at, you know,

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I don't know, 25 beats per minute or

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something ridiculous. Um, and everybody

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came, you know, I got everybody into the

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room and I said, "Chris, you know, I I

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tried something completely different. If

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you don't like it, you know, it's easy

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enough, you know, suspin it and we'll

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we'll we'll try the other thing, but I

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I'm not sure. I think this could be

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interesting,

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you know, and everybody was knew that

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he'd been saying going on about this has

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to be a fast piece." And um you know I

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played it to him of a silence afterwards

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and he's looking at the screen and he

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looks at me he goes yeah that works too

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and that was the end of the of that

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conversation you know um because it's

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just exploring. All we're doing is we're

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exploring things. It's not about this

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has to be a finished piece of music. I

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mean so I tried the slow thing. If that

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hadn't worked, you know, it would have

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gotten us to the next sentence where I

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would have gone, so tell me why the fast

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piece or why does the slow thing not

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work, you know, and it would have become

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a conversation. And somewhere in that

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conversation, we jointly would have

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found an answer. Terry Malik and I um I

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mean, he he you know, we we felt like

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cats and dogs at at different points

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during the process. You know, at one

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point he said, you know, the way we

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speak to us, only brothers can speak to

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each other that way. um because we got

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passionate, we got into the ideas and

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you know I I think the it's not really

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working type of scenario is is where

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nobody cares where people don't get

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passionate you know and as long as you

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remember at the back of your mind

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everybody is just trying to do their

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best everybody's trying to support

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everybody else. Everybody is trying to

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work at the top of their game and um

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invent