1 00:00:06,240 --> 00:00:08,080 There are a couple of surprising things 2 00:00:08,080 --> 00:00:10,559 going on for a blockbuster Batman movie. 3 00:00:10,559 --> 00:00:14,639 I think um one of the things is that 4 00:00:14,639 --> 00:00:17,359 Batman and the Morgan Freeman character 5 00:00:17,359 --> 00:00:19,199 are obviously doing the wrong things 6 00:00:19,199 --> 00:00:21,279 with that surveillance thing. You know, 7 00:00:21,279 --> 00:00:24,320 they are now doing the immoral thing. 8 00:00:24,320 --> 00:00:27,599 And then Chris quite 9 00:00:27,599 --> 00:00:29,519 overtly 10 00:00:29,519 --> 00:00:32,800 uses the AfricanAmerican um prisoner who 11 00:00:32,800 --> 00:00:34,399 you know like he shoots him as if he's 12 00:00:34,399 --> 00:00:37,440 this guy is a really bad guy etc. and 13 00:00:37,440 --> 00:00:39,280 the other guy on the other side the the 14 00:00:39,280 --> 00:00:41,200 businessman you know with the with the 15 00:00:41,200 --> 00:00:44,879 gentle face. um basically turns our 16 00:00:44,879 --> 00:00:47,440 expectations upside down. That the that 17 00:00:47,440 --> 00:00:49,520 the big action scene that is going to 18 00:00:49,520 --> 00:00:52,160 happen right now is not an action scene 19 00:00:52,160 --> 00:00:54,640 that somebody we don't expect to make a 20 00:00:54,640 --> 00:00:56,559 a morally correct choice will make a 21 00:00:56,559 --> 00:00:59,440 morally correct choice. And that and I I 22 00:00:59,440 --> 00:01:01,120 always I always said to Chris, I love 23 00:01:01,120 --> 00:01:04,400 that our action scene is about 24 00:01:04,400 --> 00:01:06,640 the non-event of the bombs going off. 25 00:01:06,640 --> 00:01:10,240 The non-event, you know, the the the the 26 00:01:10,240 --> 00:01:15,720 not the expected thing that it's um 27 00:01:15,840 --> 00:01:17,520 you know, 28 00:01:17,520 --> 00:01:18,960 you're telling the truth by playing 29 00:01:18,960 --> 00:01:23,119 against type. And um you know, the other 30 00:01:23,119 --> 00:01:24,560 piece of baggage that comes with the 31 00:01:24,560 --> 00:01:26,479 scene is that was Heath Ledger's last 32 00:01:26,479 --> 00:01:29,600 scene. So 33 00:01:29,600 --> 00:01:33,600 it's tough to look at. Um 34 00:01:33,600 --> 00:01:37,360 the the idea is the the scene is full of 35 00:01:37,360 --> 00:01:40,720 ideas. The idea of surveillance, is it 36 00:01:40,720 --> 00:01:43,840 moral? Is it immoral? Is is is if we can 37 00:01:43,840 --> 00:01:47,280 go and save the world by using, you 38 00:01:47,280 --> 00:01:49,280 know, cell phones and the NSA and all 39 00:01:49,280 --> 00:01:51,600 that stuff. So eavesdropping on us. is 40 00:01:51,600 --> 00:01:53,920 that mo you know is that the way to save 41 00:01:53,920 --> 00:01:58,479 the world or is relying on 42 00:01:58,479 --> 00:02:00,240 you know s something as simple as the 43 00:02:00,240 --> 00:02:02,960 goodness of one human being in this case 44 00:02:02,960 --> 00:02:05,920 a guy who who you know the way Chris has 45 00:02:05,920 --> 00:02:08,479 framed it the way he's dressed in the 46 00:02:08,479 --> 00:02:11,520 prison orange you know he's got the 47 00:02:11,520 --> 00:02:13,360 tattoos he's got all that stuff and and 48 00:02:13,360 --> 00:02:16,400 and and our instincts are yes he's going 49 00:02:16,400 --> 00:02:18,400 to go you know and when he goes give me 50 00:02:18,400 --> 00:02:20,319 that thing you know it's it's is he 51 00:02:20,319 --> 00:02:21,920 threatening and He's he's the most 52 00:02:21,920 --> 00:02:24,080 moral. He knows how to make the right 53 00:02:24,080 --> 00:02:27,920 moral choice. So So the scene is is 54 00:02:27,920 --> 00:02:31,120 about ideas as opposed to, you know, the 55 00:02:31,120 --> 00:02:34,080 mathematics of an action scene or or the 56 00:02:34,080 --> 00:02:36,480 kineticism of, you know, hey, we can 57 00:02:36,480 --> 00:02:38,480 make this really exciting by by pumping 58 00:02:38,480 --> 00:02:43,640 a lot of fast-paced music underneath it. 59 00:02:45,200 --> 00:02:47,360 I'm actually trying to create an 60 00:02:47,360 --> 00:02:49,280 enormous amount of space which does 61 00:02:49,280 --> 00:02:52,080 create tension and slow everything down 62 00:02:52,080 --> 00:02:55,920 so you really take in what is going on. 63 00:02:55,920 --> 00:02:58,480 You don't want to die but you don't know 64 00:02:58,480 --> 00:03:01,040 how to take a life. 65 00:03:01,040 --> 00:03:03,120 Give it to me. 66 00:03:03,120 --> 00:03:07,200 The me will kill you and take it anyway. 67 00:03:07,200 --> 00:03:11,360 I don't want you to miss the scene by me 68 00:03:11,360 --> 00:03:13,440 doing action. 69 00:03:13,440 --> 00:03:15,360 Fine, I'll do it. 70 00:03:15,360 --> 00:03:17,599 And that that was really sort of where I 71 00:03:17,599 --> 00:03:19,360 was coming from when I said to Chris, 72 00:03:19,360 --> 00:03:21,360 you know, is it okay if I don't write 73 00:03:21,360 --> 00:03:23,440 this as an action scene? 74 00:03:23,440 --> 00:03:25,040 Doesn't make any sense for us to have to 75 00:03:25,040 --> 00:03:28,280 die, too. 76 00:03:30,959 --> 00:03:32,799 And I understand why Chris wanted to do 77 00:03:32,799 --> 00:03:35,040 this as an action scene. You know, the, 78 00:03:35,040 --> 00:03:37,120 you know, the adrenaline is high, etc. 79 00:03:37,120 --> 00:03:39,680 It's and it's in the in in that place of 80 00:03:39,680 --> 00:03:41,760 the movie where you would have an action 81 00:03:41,760 --> 00:03:44,080 scene, you know, geographically that's 82 00:03:44,080 --> 00:03:46,799 where the action scene would take place, 83 00:03:46,799 --> 00:03:49,680 but by by actually making it slower than 84 00:03:49,680 --> 00:03:51,519 what was going on the screen, you know, 85 00:03:51,519 --> 00:03:54,720 it added far more tension and it it was 86 00:03:54,720 --> 00:03:57,280 a bit more elegant to do do it that way. 87 00:03:57,280 --> 00:04:00,799 Give it to me. 88 00:04:00,799 --> 00:04:05,040 You can tell them I took it by force. 89 00:04:05,040 --> 00:04:07,360 give it to me and I'll do what you 90 00:04:07,360 --> 00:04:09,840 should have did 10 minutes ago. 91 00:04:09,840 --> 00:04:12,159 What I wanted was, 92 00:04:12,159 --> 00:04:14,400 and now we're getting technical, that 93 00:04:14,400 --> 00:04:17,040 it's really a big chord. 94 00:04:17,040 --> 00:04:19,280 And as the 95 00:04:19,280 --> 00:04:22,400 scene focuses itself, I mean, as the 96 00:04:22,400 --> 00:04:24,560 story focuses itself, all these 97 00:04:24,560 --> 00:04:27,120 different notes converge onto one note 98 00:04:27,120 --> 00:04:31,560 and then split apart again. 99 00:04:32,080 --> 00:04:33,440 We really should stop this fighting. 100 00:04:33,440 --> 00:04:35,440 always will miss the fireworks. 101 00:04:35,440 --> 00:04:39,280 There won't be any fireworks. And here 102 00:04:39,280 --> 00:04:43,479 we go. 103 00:04:46,880 --> 00:04:48,720 It took me a while to figure out how to 104 00:04:48,720 --> 00:04:51,840 do this, which I kept hearing in my 105 00:04:51,840 --> 00:04:56,080 head. And um you know a a lot of what 106 00:04:56,080 --> 00:04:58,960 happens at my place is is we but I hear 107 00:04:58,960 --> 00:05:00,240 something in my head and it doesn't 108 00:05:00,240 --> 00:05:02,000 exist. We have people like there's a 109 00:05:02,000 --> 00:05:05,840 chap called Mark Wary um who just build 110 00:05:05,840 --> 00:05:08,320 me a sampler that could do that so that 111 00:05:08,320 --> 00:05:10,960 I could literally take the strings take 112 00:05:10,960 --> 00:05:12,720 all the different notes and just 113 00:05:12,720 --> 00:05:15,120 converge them into this one focal point 114 00:05:15,120 --> 00:05:17,840 and do it really slowly. I mean, a part 115 00:05:17,840 --> 00:05:20,000 of part of what I think people don't 116 00:05:20,000 --> 00:05:23,120 understand is to play really slowly is 117 00:05:23,120 --> 00:05:27,199 really difficult. Um, and but there's a 118 00:05:27,199 --> 00:05:29,520 beauty to it. There's a, you know, I I 119 00:05:29,520 --> 00:05:32,479 don't see this as 120 00:05:32,479 --> 00:05:35,360 I mean I it might be dissonant, but to 121 00:05:35,360 --> 00:05:38,759 me it's beautiful. 122 00:05:43,360 --> 00:05:45,280 The converge thing makes everything 123 00:05:45,280 --> 00:05:48,320 unstable until it lands on that note. 124 00:05:48,320 --> 00:05:51,039 And even that note doesn't necessarily 125 00:05:51,039 --> 00:05:55,320 say everything is going to be good. 126 00:05:56,960 --> 00:05:59,360 The scene isn't over yet. Now I'm 127 00:05:59,360 --> 00:06:01,520 letting the actor do it. I'm I'm sort of 128 00:06:01,520 --> 00:06:03,440 letting the actor do it and I'm sort of 129 00:06:03,440 --> 00:06:05,360 letting the audience do it. You know, 130 00:06:05,360 --> 00:06:08,080 again, that's why even though Chris 131 00:06:08,080 --> 00:06:11,199 Chris plays the music really loudly and 132 00:06:11,199 --> 00:06:14,080 there's, you know, um, electronically 133 00:06:14,080 --> 00:06:15,680 and mathematically something fairly 134 00:06:15,680 --> 00:06:18,319 complex going on, I still think it's 135 00:06:18,319 --> 00:06:22,319 it's it's done in a way that that makes 136 00:06:22,319 --> 00:06:25,919 you think. And I quite like it if you 137 00:06:25,919 --> 00:06:28,080 don't treat your audience like sheep, 138 00:06:28,080 --> 00:06:30,639 but you make them think. We work with a 139 00:06:30,639 --> 00:06:32,960 very good music editor called Alex 140 00:06:32,960 --> 00:06:35,919 Gibson. And Alex is just sort of uh I 141 00:06:35,919 --> 00:06:38,479 sometimes like just I just give him it's 142 00:06:38,479 --> 00:06:40,160 it's like I just give him clay. I just 143 00:06:40,160 --> 00:06:42,000 give him a few notes, give him some 144 00:06:42,000 --> 00:06:43,680 stuff and 145 00:06:43,680 --> 00:06:46,560 weird things start happening where oh 146 00:06:46,560 --> 00:06:48,400 where I'm going, oh wow, I never would 147 00:06:48,400 --> 00:06:50,240 have thought of using those notes in 148 00:06:50,240 --> 00:06:52,000 that way. And sometimes it works and 149 00:06:52,000 --> 00:06:53,759 sometimes it doesn't. Sometimes it 150 00:06:53,759 --> 00:06:55,440 doesn't work because it was a really bad 151 00:06:55,440 --> 00:06:58,080 idea in the first place. But you have to 152 00:06:58,080 --> 00:06:59,840 go all the way through to prove that it 153 00:06:59,840 --> 00:07:01,599 was. Sometimes it doesn't work because 154 00:07:01,599 --> 00:07:03,759 you you're not actually good enough yet 155 00:07:03,759 --> 00:07:08,720 to execute the intellectual conceit of 156 00:07:08,720 --> 00:07:11,199 an idea and sometimes it doesn't work 157 00:07:11,199 --> 00:07:13,759 because the original idea hence can you 158 00:07:13,759 --> 00:07:15,840 just go and play an action scene is the 159 00:07:15,840 --> 00:07:19,120 right idea and I don't think we can tell 160 00:07:19,120 --> 00:07:24,080 until we do it and I think we can't tell 161 00:07:24,080 --> 00:07:27,280 until you know and and and and the 162 00:07:27,280 --> 00:07:29,440 process is very different where we don't 163 00:07:29,440 --> 00:07:32,800 really preview. Um, so it it they're 164 00:07:32,800 --> 00:07:36,400 made in great privacy, you know, and uh 165 00:07:36,400 --> 00:07:37,680 people always think we're being 166 00:07:37,680 --> 00:07:39,039 secretive, but we're not being 167 00:07:39,039 --> 00:07:42,000 secretive. We're just being, you know, 168 00:07:42,000 --> 00:07:44,560 by by being very private, we can try 169 00:07:44,560 --> 00:07:46,960 things like that 170 00:07:46,960 --> 00:07:51,360 and not let the fear of failure 171 00:07:51,360 --> 00:07:54,400 cloud our judgment, you know. So if we 172 00:07:54,400 --> 00:07:58,720 like it, we like it, you know. And um 173 00:07:58,720 --> 00:08:00,240 why would I want to put something in 174 00:08:00,240 --> 00:08:04,879 front of an audience that I didn't like?