1 00:00:12,480 --> 00:00:14,320 What is slightly misleading about what 2 00:00:14,320 --> 00:00:15,599 we're doing right now, you know, you 3 00:00:15,599 --> 00:00:17,920 know, it's like it looks a bit like a 4 00:00:17,920 --> 00:00:20,960 real studio, um, or something like that, 5 00:00:20,960 --> 00:00:23,039 but it's just a computer and a bunch of 6 00:00:23,039 --> 00:00:25,920 screens and a couple of not very good 7 00:00:25,920 --> 00:00:28,960 speakers. So we we can just pick this up 8 00:00:28,960 --> 00:00:32,399 and you know off we go. The thing that I 9 00:00:32,399 --> 00:00:35,520 don't think works is to try a movie to 10 00:00:35,520 --> 00:00:37,360 try to make a movie if you're not in the 11 00:00:37,360 --> 00:00:40,079 same town as the people. I don't think I 12 00:00:40,079 --> 00:00:42,000 think you you never get the subtlety of 13 00:00:42,000 --> 00:00:43,600 the conversation if you try to do these 14 00:00:43,600 --> 00:00:48,640 things over Skype or any of this. Um 15 00:00:48,640 --> 00:00:51,440 the the the hardest thing I mean I the 16 00:00:51,440 --> 00:00:54,399 hardest thing I think we ever did was 17 00:00:54,399 --> 00:00:56,960 um on inception 18 00:00:56,960 --> 00:00:58,879 we were supposed to record the score on 19 00:00:58,879 --> 00:01:02,160 London and the volcano in Iceland blew 20 00:01:02,160 --> 00:01:05,119 up so we couldn't you know the planes 21 00:01:05,119 --> 00:01:07,680 weren't flying which wasn't actually 22 00:01:07,680 --> 00:01:09,360 strictly true. We could have gotten to 23 00:01:09,360 --> 00:01:11,040 London but we were worried about not 24 00:01:11,040 --> 00:01:15,520 being able to come back. So, we used all 25 00:01:15,520 --> 00:01:17,439 technology at our disposal. I mean, we 26 00:01:17,439 --> 00:01:20,799 literally put um more cameras than you 27 00:01:20,799 --> 00:01:23,680 guys have right now. We put I think six 28 00:01:23,680 --> 00:01:25,680 cameras in amongst the orchestra. We 29 00:01:25,680 --> 00:01:30,320 miked the orchestra in a way. I had um I 30 00:01:30,320 --> 00:01:32,479 had control over the talk back from here 31 00:01:32,479 --> 00:01:35,200 so I could speak to them. And we knew 32 00:01:35,200 --> 00:01:37,360 all the players. So if I heard a voice 33 00:01:37,360 --> 00:01:39,119 asking something in the orchestra, I 34 00:01:39,119 --> 00:01:41,600 knew it was Mary the basis or somebody, 35 00:01:41,600 --> 00:01:44,479 you know, because but during these 36 00:01:44,479 --> 00:01:49,280 sessions starting at 2:00 a.m. our time, 37 00:01:49,280 --> 00:01:52,479 watching them take their lunch break at, 38 00:01:52,479 --> 00:01:54,320 I don't know, 6:00 a.m. our time, 39 00:01:54,320 --> 00:01:57,840 watching them file out and it was just 40 00:01:57,840 --> 00:02:00,399 brutal. And and you don't get the 41 00:02:00,399 --> 00:02:01,680 communication, you don't get the 42 00:02:01,680 --> 00:02:04,320 subtlety, you don't get the music 43 00:02:04,320 --> 00:02:06,159 happens in real time. 44 00:02:06,159 --> 00:02:10,080 and performance happens in real time and 45 00:02:10,080 --> 00:02:13,280 even the slight delay just it just 46 00:02:13,280 --> 00:02:16,720 throws our natural rhythms off. So and 47 00:02:16,720 --> 00:02:19,599 and I think everything that we do is 48 00:02:19,599 --> 00:02:23,200 about communicating with each other. Um 49 00:02:23,200 --> 00:02:26,400 and the I mean it's just it's just the 50 00:02:26,400 --> 00:02:28,560 way I like working is I like I I like 51 00:02:28,560 --> 00:02:30,720 making the direct the director and the 52 00:02:30,720 --> 00:02:33,440 editor be part of the band. 53 00:02:33,440 --> 00:02:37,040 Um, look, I play a computer, you know, 54 00:02:37,040 --> 00:02:39,120 the editor plays a computer, you know. 55 00:02:39,120 --> 00:02:41,360 Uh, so it's not about that. It's about 56 00:02:41,360 --> 00:02:44,959 the conversation. It's about 57 00:02:44,959 --> 00:02:47,280 feeling what, you know, and and and 58 00:02:47,280 --> 00:02:48,800 instantly feeling what they're feeling 59 00:02:48,800 --> 00:02:50,480 when you play them the piece of music. I 60 00:02:50,480 --> 00:02:53,120 mean, again, it's this thing about you 61 00:02:53,120 --> 00:02:55,200 need to listen, but sometimes it's not 62 00:02:55,200 --> 00:02:58,000 even with your ears. You just need to 63 00:02:58,000 --> 00:02:59,920 feel what they're feeling. They don't 64 00:02:59,920 --> 00:03:03,400 need to say anything. 65 00:03:07,200 --> 00:03:09,840 It's really amazing what what happens 66 00:03:09,840 --> 00:03:12,720 how you can 67 00:03:12,720 --> 00:03:15,440 start with a piece where all the notes 68 00:03:15,440 --> 00:03:19,200 are played well and it's all you know 69 00:03:19,200 --> 00:03:22,159 it's all musically correct 70 00:03:22,159 --> 00:03:24,879 but the emotion isn't quite there and 71 00:03:24,879 --> 00:03:26,640 you can work on that. I mean, you can 72 00:03:26,640 --> 00:03:28,480 really work on that and you can really 73 00:03:28,480 --> 00:03:32,080 get that to blossom and suddenly you get 74 00:03:32,080 --> 00:03:35,760 these moments where it is undeniable 75 00:03:35,760 --> 00:03:37,840 that the story is being told in the 76 00:03:37,840 --> 00:03:40,400 correct way, that everybody's on the 77 00:03:40,400 --> 00:03:42,720 same page, everybody knows why they're 78 00:03:42,720 --> 00:03:46,400 playing the note. I mean, um, it's it's 79 00:03:46,400 --> 00:03:48,080 a weird thing when you have a when you 80 00:03:48,080 --> 00:03:50,480 have a large orchestra, 81 00:03:50,480 --> 00:03:52,080 you know, the front row is going to be 82 00:03:52,080 --> 00:03:54,400 playing exact and passionate, etc., you 83 00:03:54,400 --> 00:03:56,159 know, and the, you know, as it goes down 84 00:03:56,159 --> 00:03:59,439 the line, it might not be your best 85 00:03:59,439 --> 00:04:00,879 players. That doesn't mean they're not 86 00:04:00,879 --> 00:04:03,519 necessarily technically proficient, but 87 00:04:03,519 --> 00:04:05,519 they might not have a great tone or 88 00:04:05,519 --> 00:04:09,200 something like this. And my ear doesn't 89 00:04:09,200 --> 00:04:12,080 go to the guy who plays the loud wrong 90 00:04:12,080 --> 00:04:15,519 note. My ear always picks up the one 91 00:04:15,519 --> 00:04:18,079 person who doesn't quite know why 92 00:04:18,079 --> 00:04:19,600 they're playing the note. They don't 93 00:04:19,600 --> 00:04:21,519 know what story to tell. So, there's 94 00:04:21,519 --> 00:04:24,080 like an indifference in their sound. my 95 00:04:24,080 --> 00:04:26,639 ear goes there and and I know, okay, got 96 00:04:26,639 --> 00:04:28,400 to have a bit of a chat here, you know, 97 00:04:28,400 --> 00:04:31,040 and and and and figure out how to how to 98 00:04:31,040 --> 00:04:34,400 encourage and help and get everybody to 99 00:04:34,400 --> 00:04:36,240 understand what what it is we're trying 100 00:04:36,240 --> 00:04:39,280 to do. And and the great thing is about 101 00:04:39,280 --> 00:04:43,880 these musicians, I mean um 102 00:04:43,919 --> 00:04:46,080 they are so, you know, they are so used 103 00:04:46,080 --> 00:04:48,080 to storytelling with their instruments 104 00:04:48,080 --> 00:04:51,800 that they get it. 105 00:04:55,840 --> 00:04:58,320 directors are envious when when they 106 00:04:58,320 --> 00:05:01,759 come to the orchestra session because 107 00:05:01,759 --> 00:05:03,680 you know there are 100 plus people 108 00:05:03,680 --> 00:05:05,840 sitting there 109 00:05:05,840 --> 00:05:08,880 and first of all they're not chatting 110 00:05:08,880 --> 00:05:11,680 they're paying attention and imagine you 111 00:05:11,680 --> 00:05:14,800 have a scene with 100 plus extras it's 112 00:05:14,800 --> 00:05:17,280 you know it's quite hard to go and 113 00:05:17,280 --> 00:05:19,360 wrangle them you know I mean it's close 114 00:05:19,360 --> 00:05:22,400 to 100 plus puppies or something 115 00:05:22,400 --> 00:05:25,759 sometimes but here here these people. 116 00:05:25,759 --> 00:05:28,880 They're sitting there and you can tell 117 00:05:28,880 --> 00:05:31,440 them what to do and they will they will 118 00:05:31,440 --> 00:05:35,440 do it beautifully. They are experts at 119 00:05:35,440 --> 00:05:37,120 picking up their instruments and making 120 00:05:37,120 --> 00:05:39,280 a beautiful sound. If you want a 121 00:05:39,280 --> 00:05:41,520 beautiful sound, if you want a scary 122 00:05:41,520 --> 00:05:43,039 sound, 123 00:05:43,039 --> 00:05:46,320 they could scare you to death. So, you 124 00:05:46,320 --> 00:05:49,520 you have this each one of them is a is a 125 00:05:49,520 --> 00:05:53,280 complete expert. Um, and they're experts 126 00:05:53,280 --> 00:05:56,240 at being human beings at expressing 127 00:05:56,240 --> 00:05:59,440 humanity. So 128 00:05:59,440 --> 00:06:01,680 figure out how to get that, you know, 129 00:06:01,680 --> 00:06:03,759 figure out how to get yourself some of 130 00:06:03,759 --> 00:06:06,400 that. Get that out of them. I mean, that 131 00:06:06,400 --> 00:06:09,520 that that's the part, you know, and and 132 00:06:09,520 --> 00:06:12,319 Okay, here's here's a good one. The 133 00:06:12,319 --> 00:06:14,800 thing you're doing is you're making a 134 00:06:14,800 --> 00:06:16,720 recording. You're not doing a live 135 00:06:16,720 --> 00:06:19,360 performance. At the beginning, I used to 136 00:06:19,360 --> 00:06:22,400 get caught out all the time, you know, 137 00:06:22,400 --> 00:06:24,639 sitting behind the glass looking at the 138 00:06:24,639 --> 00:06:26,720 fabulous orchestra and there's passion 139 00:06:26,720 --> 00:06:29,520 in their faces and the bows are doing 140 00:06:29,520 --> 00:06:31,120 everything and the guys are hitting 141 00:06:31,120 --> 00:06:36,199 things and it's looks so exciting 142 00:06:36,319 --> 00:06:38,319 and two days later I'm listening back to 143 00:06:38,319 --> 00:06:41,280 it and it's really boring. We're making 144 00:06:41,280 --> 00:06:43,520 a recording. We're not doing a live 145 00:06:43,520 --> 00:06:44,720 performance. And there's a big 146 00:06:44,720 --> 00:06:46,800 difference between making a recording 147 00:06:46,800 --> 00:06:48,560 and doing a live performance. And it's 148 00:06:48,560 --> 00:06:51,360 there is something not bad about not 149 00:06:51,360 --> 00:06:55,360 actually getting seduced by the the 150 00:06:55,360 --> 00:06:57,840 smiles and the energy and the bright 151 00:06:57,840 --> 00:07:02,240 eyes, you know. So listen listen to the 152 00:07:02,240 --> 00:07:04,880 thing, you know, and and help them to 153 00:07:04,880 --> 00:07:06,960 make the best recording as opposed to to 154 00:07:06,960 --> 00:07:12,080 make the best theater play for you.