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Some movies are entirely characterdriven

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and you know I mean if if you say

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Sherlock Holmes

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Yeah, you know, it's it's pretty obvious

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it's it's about the character. Um, if if

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you say to me pirates, actually Jack

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Sparrow's theme I forgotten about Jack

8
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Sparrow, you know, it was much more

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about

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it's, you know, let's let's invent a

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lang, you know, let's figure out a

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language of of how we can describe the

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movie and,

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you know, in a funny way. I mean, it's

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it's like Gore gave me all the clues.

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It's, you know, uh pirates were the rock

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and rollers, you know, of the of the

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Middle Ages or whatever, you know. So,

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it's just a boogie, you know. That's all

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it tastes, you know, that that tune. Um,

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so so every secondary tune other than

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Jack's came out of the

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Well, Jack's tune starts with that as

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well. Um, so, so, so I thought, you

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know, if I have a family of tunes that

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all start with the same three notes, you

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know, um,

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that is the family, you know, that, you

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know, that that's the set design for

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this movie in a funny sort of way. Um,

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so yes, the the the the overall

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sound of the movie came first. What I

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try to do is I try to find the tone of

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the movie. I try to find the tone for

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the movie more than anything else and

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you know build the set and then put the

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actors into it. So yeah, I mean look I

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some of the characters I I don't

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remember but the process is usually the

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same. It's I really try to figure out

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how that character resonates with me and

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then it becomes a game. It's becomes a

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game of it's it's it's it's

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no different than telling your best

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friend about somebody you met and the

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impression they left on you and you're

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trying to describe a person to somebody

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else who has never met that person.

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I just kept watching what Johnny was

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doing and I kept watching what you know

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who he was. So I I just sat down and I

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mean I didn't sort of quite bash it out

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but it didn't take very long. There

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wasn't a lot of time. Um, and I just I

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just tried to put all the all the I

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wasn't consciously thinking about it,

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but I, you know, I knew what I wanted to

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say and I just I just have tried to put

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it into the notes. And then, yeah, at

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one point,

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you know, I mean, look, I'll play it.

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I'll probably get it wrong.

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And if I wasn't so lazy, I'd turn around

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and play the harmony.

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Oh,

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remember I said I'm not a performer.

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There was proof. I'm not a performer.

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Um,

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so I actually wrote it down at one point

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and and scribbled it down for Gore so he

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would understand what the thing was. So

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if you should we should we go and do

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this by example. So now I feel like a

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teacher. So you know I I just wrote the

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instruction manual out for for for

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Gabinsky going okay this is what I was

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thinking and this is what this does. Um

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that you know it starts with an romantic

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phrase. It goes to a heroic phrase and

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since you're heroic

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and and and I do think this character

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thinks of heroic as a little go. So he

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has to go just when everybody goes well

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done. He has to go and

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just like I would have to do perverts

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the praise by going a little naughty. it

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goes naughty then it does the strong and

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positive then it does a little decadent

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thing

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and then the sort of the the the

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surprise and you know and there's a bar

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which is just called mess where I was

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changing my mind about things um

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and you know again this this idea that

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at the end he gets a little bit long-

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winded uh you know he gets stuck in

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his words and his

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and you And you know, maybe a good glass

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of rum will solve it.

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I think this first phrase

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is actually quite romantic, right? And

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then it does this um

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I mean that's

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it's a very heroic leap, you know,

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because I think he's a closic romantic,

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but

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he automatically goes to the um goes to

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the heroic. And the next thing is he's

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naughty. And so the next three notes are

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you know the semmit tone you know

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it's like

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bit wicked you know um

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and this one this chord shouldn't be in

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there I mean I haven't you know because

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the harmony so far has been this the

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very heroic and romantic thing and that

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that that that you know So, I'm suddenly

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changing language and it it's it's

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strong and it's positive, you know? It's

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like

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first of all, I think part of what this

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character is is he imagines himself to

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be all of these things. So, so part of

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it is like how he sees himself and part

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of it is how I think he really is, you

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know. So, so this is very positive thing

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you know but then straight away it it

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goes into um

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hang on hang

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that there's you know it's still the

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positive thing

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there is you know that's straight out of

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that's straight out of a strip club you

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There's a

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there's a bit of sexuality that might

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not be appropriate in a children's

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movie, but who's going to catch me at it

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in this tune?

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And then the tune does something

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boldly unexpected.

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You know, it should just shouldn't go to

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this chord.

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So, you know, it's like every problem he

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solves, he he he he figures out um you

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know, it breaks the rules, you know,

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that's that's really what that tune

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does. So, so within

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so far good with the romantic goes to

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heroic

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bit naughty

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very positive

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etc etc etc you know I mean it actually

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goes goes on and on and on and on.

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Do you know the way he gets he keeps in

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the m, you know, he's trying to solve

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problems and he gets stuck for a while

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and it's of his thinking process. And

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the only way he knows how to solve the

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problem is he goes to

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the rulebreaking chord.

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Oh yeah, you know, hey, I'm I I did it

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right.

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Naughtily

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just because I can, I'm going to repeat

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the naughty bit because I got away with

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it, you know. And and no, I'm not

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interested in making a well-rounded

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character because well-rounded

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characters have no place in a movie.

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They got there's nowhere to go, you

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know. You you you want the impossible,

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difficult, contr, eccentric, slightly

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damaged goods. That's what makes

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interesting