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I try I I really try

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on each score to find to create a pallet

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that that that A I haven't used before

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and B if possible nobody else has used

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before. So there's a lot of

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experimenting going on. There's a lot

7
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of, you know, what happens if you play

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the violin behind the bridge and stuff

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like this? What would that sound like?

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And that sort of happening while, you

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know, and every day I get a new idea and

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there's like a team of engineers running

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around just trying to keep up with me.

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And some some of it is is just quite

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frankly it's just me procrastinating

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trying to avoid having to write the next

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note and going I can't possibly write

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this next note unless I have the gong

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underwater plate with you know I don't

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know three snorkels or something like

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this you know some some hideous thing I

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make people go through to do this

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when we were working on the Batman

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movies. I mean, Gotham City doesn't

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exist, but it it was very important that

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Gotham City had its own sound, you know.

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So working with um Richard King for

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instance, the the sound designer uh and

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my friend friend Mel Wesson, we we

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really tried to figure out how

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music could

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seep dissolve

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uh metamorphosize into

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um a more abstract sound into

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atmospheres into room tones could

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dissolve into the proper hard real sound

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effects which could then at the same

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time be reflected in the images that you

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saw and very much you know the light I

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mean the stylized lighting

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and the sound had to make sense you know

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I think a very bright ditty across

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Gotham City wouldn't have worked you

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know and the same time I mean I remember

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because I you know I did Batman Begins

46
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with my friend friend James Howard who's

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a far more elegant composer I mean so so

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I kept forever making him Do you know

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the the the the grandeur and the

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architectural

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wonderfulness of you know the the the

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the shiny glass and steel of of that

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city while I you know why I became a

54
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specialist at grubby night scenes. Um

55
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but you know James used a very very

56
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different sound to describe those

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colors. But if you know and and and in a

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funny way we never talked about but it

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was fairly obvious that you know there

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was a different instrumentation called

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for to show you know to to to show the

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hope of you know the you know the the

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the beauty of the city before it got

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destroyed.

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As soon as you say a very blue shot, as

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soon as you say it, I hear a sound. Um,

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and and maybe, you know, I mean, look, I

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don't think it's a particular talent I

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have. I think it's just it's just how I

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I hear the world maybe more than I see

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the world. I mean, um,

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just like I think the DP spends a lot of

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time figuring out how to lo, uh, how to

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light something and how to use certain

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colors or, you know, the the set

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designer, how to how to create an

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environment in which it is possible that

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the story can unfold.

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I need to know what the DP is doing. I

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need to know how this thing is going to

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look. And so

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the colors are really important. The the

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you know because music and

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music and image I mean you know it's

85
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it's all the same thing. It's light.

86
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It's frequency you know I mean light

87
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goes into you know when you slow it down

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enough it becomes sound. So

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we need to coexist and we need to

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complement each other you I mean, if you

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look at um Victoria Straro's book uh

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Konuch, you know, the writing with uh

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light um and he just shows you the

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paintings he's looked at and the the the

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way he uses light. I mean, these are all

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things that you might think is not what

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a composer should study, but I think a

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film composer should study that. I think

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that's that's that's where you're you

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know the paraphrasing of the notes in

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light is where I get my ideas from the

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paraphrasing you know very often and I

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hope Aaron Sin will forgive me for

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saying this very often I just watch a

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movie with the sound turned off because

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I sort of know what they're talking

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about but what I want to see is is is

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how the shadows fall how the movement of

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the cutting is how the editing works how

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the light falls and the colors fall in

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the thing. I mean,

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one thing I learned in animation um was

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and it it seemed so obvious to me um

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animators would put up a whole movie,

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every scene just as a color strip, you

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know, okay, hang on. this the scene's

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going to be sort of a light blue and

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then it's going to get a little green

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here and then suddenly we're going to go

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red and obviously the motion is going to

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be heightened and th those sort of ways

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of looking at things are actually I mean

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it's a it's a beautiful shorthand

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because you can get a movie down to to

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to to one piece of paper about this wide

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and

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all we're doing set designer costume

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designer actor uh

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writer, composer, we're trying to give

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you the illusion that this world, you

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know, we we try to create worlds and we

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try to give give these worlds a

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totality.

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When I started doing sampling these

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instruments, the technology wasn't

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really there. Um, but because I am a

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geek and I'm obsessed and it's not a

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job, it's my life. Um,

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we decided we had to build our own

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sampler because the the, you know, the

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firepower just didn't exist in those

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days. So, but but these days, you know,

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it's like

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samples to a penny. But the the the

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important thing was to sort of

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do these sounds myself because then I

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could be very specific about them. And I

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and I never understand why

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it's so easy to do. It's learn your

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computer, learn your instrument. Um and

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then you know you you must have some

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mates that make interesting noises. Go

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and do your own samples because

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everything starts sounding the same

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otherwise. I was asked to judge a

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competition once of young composers

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and I don't know they were all

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gravitating towards the same sample

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library. So the pro the problem with

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samples is that

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this note will always be the same. It is

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a moment captured in time

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and it's it's you know it's a still

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photograph. So when I was judging this

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competition, it people were writing all

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this beautiful music, but it after a

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while it all sounded the same because

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the emotion in each note was identical.

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It just sounded like gray after a while.

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And

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my my whole point is I need to go on

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these sample expeditions before, you

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know, it's it's like, you know, okay,

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we're going off to go and create create

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new sounds, create a new pallet. the

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beginning of a project. So it doesn't

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matter what it you know what it is the

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the process is pretty much the same. You

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you know you

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you get something that is bespoke and

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you get something that works for you.

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So this is um my favorite chist Tony

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please. I I know specifically because I

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do all my own samples because I love

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these players.

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It's a stratavarious. Um, so it's not a

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bad axe, you know. Um,

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and when I write, when I play, when I

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I actually see him in front of my eye,

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you know, I know how he plays. I know

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him so well. So, I write for him. I

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absolutely specifically write for him.

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And

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I know he will play much better than I

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can.

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But the but the huge advantage is it's

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him. It's he's right there. He reminds

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me of his musicality all the time. Even

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though this is just, you know, some

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dodgy samples. Um and that's that that

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and I started doing this this year years

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years and years and years ago to

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actually sample these players not to

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replace them but to quite the opposite

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to um

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make directors and studio executives

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interested in what an orchestra can do

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because that there was a period of time

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where everybody thought that if you do

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an orchestral score it'll sound like

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Star Wars and they would go, "Oh, no, we

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don't want an orchestral score." And

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they they didn't realize that there was

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there was so much more to be done with

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it. So, I went to the players that I

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adored and loved and said to them,

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uh, you know, this was the beginning of

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sampling

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when they were all freaking out that

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they would get replaced. I said, "Look,

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let me sample you and I promise you I

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won't replace you. If anything, it'll

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create more work." And I think there are

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many many horrible things you can say

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about Hollywood and they're all true.

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But the amazing thing about film is we

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we're sort of the last place on earth

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that on a daily basis commissions

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orchestral music. And I think there's

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something important about that. You

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know, not because I write particularly

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well for orchestras, but the idea, you

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know, an orchestra is a very expensive

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hobby. Um so you can't have it as a

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hobby and these you know but I I want

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the possibility to I want the tradition

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to be maintained that we can can have

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orchestras that we can have orchestral

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players and if this thing if you know

240
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weirdly that this computer now suddenly

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00:11:50,079 --> 00:11:51,600
can

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um help maintain that tradition and make

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sure that if my kids want to learn the

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violin it's not that they could actually

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make a living out of it and and and it

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actually is an

247
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a viable career to have, you know, I'm

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all for it.

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Sherlock is is still the the the title

250
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itself already has some inherent baggage

251
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that comes with it. There have been

252
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so many actors have portrayed Sherlock

253
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Holmes. So many Sherlock Holmes movies

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exist. So it's sort of you know so how

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do you find yourself out of the maze of

256
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cliche? So it really was very much about

257
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figuring out who this character is in

258
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this case played by Robert Downey Jr. Um

259
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I thought this is where they've always

260
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gone wrong. This is my conceit. They

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haven't gone wrong. There's some

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beautiful Sherlock scores that have

263
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nothing to do with what I did. Um, but

264
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for me, I wanted, you know, I want to

265
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widen my gaze, which is sort of a line

266
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actually from from the movie. And I

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thought, where are we? We're in

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Victorian England. Um,

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we're dealing with a man

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who is extremely inquisitive.

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And

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we know he plays the violin.

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And every Sherlock movie you've ever

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seen, he plays Bach or he plays, you

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know, he plays classical violin. And I

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thought, but hang on a second. We are at

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a juncture in time, you know, the

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British Empire. Yeah. You know, people

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were going all over the world. The

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exotic was suddenly the, you know,

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something

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interesting for people. Different

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cultures suddenly started to seep into

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England. And I thought, what if he

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didn't play the classical violin? What

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if he played tipsy violin? Because I

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mean, I I grew up in in Europe and you

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know, the true virtuoso player were all

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these, you know, tips are actually the

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derogatory term. It's really Roma, you

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know, these great Roma musicians that

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play passionately and it's different and

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it's it's more interesting than if he

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played Einstein. We know Einstein played

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Bach. Einstein played Bach. He's not

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Einstein. He's

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he's this, you know, he's a slightly

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more dangerous character. And so so on

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the one hand, I had the violin and that

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he was going to play it differently,

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that he wasn't going to play classical

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music. On the other hand, I would just I

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just thought about Victorian London. I

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mean, I when I'm not here, I live in

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London. I live bang in the middle of

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Soho. And it's one pub after the other.

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And I was thinking in Victorian times,

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it must have been just this jangle of

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noise. As you walk down the street, you

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heard the bad piano out of one place,

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the accordion out of the next door,

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banjo playing in another thing. So why

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don't we make you know what again?

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What's the world we can create? One of

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the things um I try to do straight away

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is that you set up

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right at the very beginning of the movie

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an an unusual sound. You know, a sound

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that you didn't associate necessarily

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with the polished expectation of a

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wellbehaved Sherlock Holmes movie. I

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wasn't going to go and do a well-

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behaved score and guy wasn't going to do

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a well- behaved Sherlock Holmes movie.

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Um, and

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there's an inherent problem with that

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sort of thinking, which is your audience

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comes into your into a movie with

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certain expectations. They come with

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certain baggage, especially if you if

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you're dealing with a subject like

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Sherlock Holmes, which they know and

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they expect,

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you know, you know, a certain behavior.

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So, and I and I really think this goes

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for every movie. um right at the very

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beginning the first thing you do you

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know and and and and in this and and

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Sherlock I mean I I fought for this that

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I you know the you know that I could

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take the real estate of the logos and

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actually start telling story there

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actually start setting up a sound you

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know actually the most extreme example I

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I can give you just but it it it leads

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into it's it's the same thinking is

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Lion King. Lion King. I I didn't really

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want to do Lion King because I I kept

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saying number one, I don't like Broadway

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musicals and you guys just make these

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fairy tale movies and it's not really my

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thing. U and they kept saying, "No, no,

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no. We don't want you to do that. We

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want you to do your thing." And I

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realized the audience was probably

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thinking like me that they were going to

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go and see another princess movie, but

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it wasn't going to be a princess movie.

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So

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by finding my friend Lebo M and putting

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that African voice right at the

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beginning over the black, it just said

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to the audience, hang on, it's not going

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to be that sort of a Disney movie. Just

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like in Sherlock, it's not going to be

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that sort of a Sherlock movie, but

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it might be interesting. And we I'm

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inviting you on this adventure. Come

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along on this journey which might not be

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quite the way you expect it to be, but

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that's the good thing and that's what

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might be