1 00:00:12,320 --> 00:00:14,080 John Powell and I were talking about 2 00:00:14,080 --> 00:00:16,320 that sort of the crisis at the beginning 3 00:00:16,320 --> 00:00:18,720 of a movie when we don't know what to do 4 00:00:18,720 --> 00:00:20,880 and just, you know, the couple of weeks 5 00:00:20,880 --> 00:00:22,480 of sitting in front of a blank screen 6 00:00:22,480 --> 00:00:25,119 and going, "Oh my god, I have no idea 7 00:00:25,119 --> 00:00:27,279 how to do this. I'm not a composer. I'm 8 00:00:27,279 --> 00:00:29,840 not worthy. I, you know, it's it's all 9 00:00:29,840 --> 00:00:32,719 over. Um because part of the problem 10 00:00:32,719 --> 00:00:34,239 with music is you don't really know 11 00:00:34,239 --> 00:00:36,559 where it comes from. So what if they 12 00:00:36,559 --> 00:00:39,520 turn off the tap, you know, it's like so 13 00:00:39,520 --> 00:00:41,440 there no there are no guarantees that 14 00:00:41,440 --> 00:00:43,200 you're going to go and write the next 15 00:00:43,200 --> 00:00:46,160 score. And he and and he very simply 16 00:00:46,160 --> 00:00:48,320 said, well, you know, sometimes it takes 17 00:00:48,320 --> 00:00:49,840 a little bit of time to get a movie 18 00:00:49,840 --> 00:00:52,000 under your fingers. 19 00:00:52,000 --> 00:00:55,920 I think this this is what happens to me 20 00:00:55,920 --> 00:00:57,600 when I have to start on a new movie and 21 00:00:57,600 --> 00:00:59,840 I haven't worked in a while, which is 22 00:00:59,840 --> 00:01:02,320 rare because I never take holidays out 23 00:01:02,320 --> 00:01:06,080 of the following reason. It's like I 24 00:01:06,080 --> 00:01:08,000 have no idea where to start. I cannot 25 00:01:08,000 --> 00:01:11,360 write. Nothing comes. It's just a 26 00:01:11,360 --> 00:01:13,920 terrifying blank sheet with a terrifying 27 00:01:13,920 --> 00:01:16,960 desert in my brain. And you know, the 28 00:01:16,960 --> 00:01:19,439 screen looks like a blizzard with just 29 00:01:19,439 --> 00:01:22,400 white on it. But if you write every day 30 00:01:22,400 --> 00:01:24,000 and it doesn't matter what it is you 31 00:01:24,000 --> 00:01:27,200 write, just write something. It's like 32 00:01:27,200 --> 00:01:29,280 it's like I suppose runners, not that 33 00:01:29,280 --> 00:01:31,040 I'm a runner, not that I even know what 34 00:01:31,040 --> 00:01:33,680 a runner is, but pretend I would know 35 00:01:33,680 --> 00:01:35,840 what what it means to work out or do 36 00:01:35,840 --> 00:01:37,280 sports or something like this. I think 37 00:01:37,280 --> 00:01:39,759 you just develop a muscle. And I think 38 00:01:39,759 --> 00:01:41,520 if you write every day, you just get 39 00:01:41,520 --> 00:01:45,560 into the flow of writing. 40 00:01:49,360 --> 00:01:51,759 the way a movie is supposed to work and 41 00:01:51,759 --> 00:01:53,520 it used to work like this in the old 42 00:01:53,520 --> 00:01:57,040 days. Um, in the old days when we had 43 00:01:57,040 --> 00:01:59,200 film and when when people were cutting 44 00:01:59,200 --> 00:02:03,119 on cams and steambecks and flatbeds and 45 00:02:03,119 --> 00:02:06,159 they were cutting films, 46 00:02:06,159 --> 00:02:10,399 there used to be a system in place where 47 00:02:10,399 --> 00:02:12,640 you'd come in, the film would be sort of 48 00:02:12,640 --> 00:02:14,160 cut and you'd sit there with the 49 00:02:14,160 --> 00:02:15,760 director and the editor and your music 50 00:02:15,760 --> 00:02:18,319 editor and you'd spot the movie. 51 00:02:18,319 --> 00:02:19,760 Everything has changed because of 52 00:02:19,760 --> 00:02:23,520 technology and the avid because 53 00:02:23,520 --> 00:02:25,599 there used to be a certain other part to 54 00:02:25,599 --> 00:02:27,599 the system which was at a certain point 55 00:02:27,599 --> 00:02:29,120 they would lock the picture. In other 56 00:02:29,120 --> 00:02:30,560 words, they would make no picture 57 00:02:30,560 --> 00:02:32,480 changes and they would now give the 58 00:02:32,480 --> 00:02:35,519 composer 12 weeks with a locked picture 59 00:02:35,519 --> 00:02:37,680 to write the score. Well, that went out 60 00:02:37,680 --> 00:02:41,440 of the window as as soon as um digital 61 00:02:41,440 --> 00:02:45,680 editing came in. So now 62 00:02:45,680 --> 00:02:47,920 anything can change at any moment in 63 00:02:47,920 --> 00:02:52,400 time with one other thing 64 00:02:52,400 --> 00:02:55,200 that changed everything which is a 65 00:02:55,200 --> 00:02:57,599 visual effect. It used to be the 66 00:02:57,599 --> 00:03:00,800 composer who was late on things and was 67 00:03:00,800 --> 00:03:03,840 holding everything up. Well, the reason 68 00:03:03,840 --> 00:03:06,560 I love computer graphics is is because 69 00:03:06,560 --> 00:03:08,319 those are the guys who are holding up 70 00:03:08,319 --> 00:03:11,200 everything. So they are actually buying 71 00:03:11,200 --> 00:03:13,519 me time. if I just turn the process 72 00:03:13,519 --> 00:03:17,680 around. So now the way I work is forget 73 00:03:17,680 --> 00:03:20,319 the spotting session. Let's just start 74 00:03:20,319 --> 00:03:23,440 if I if I can if I have if if I have the 75 00:03:23,440 --> 00:03:25,280 space and the time available, I start 76 00:03:25,280 --> 00:03:27,200 when they start shooting and I start off 77 00:03:27,200 --> 00:03:29,440 that conversation. I start collecting 78 00:03:29,440 --> 00:03:31,680 sounds and I start making sounds and I 79 00:03:31,680 --> 00:03:34,080 start coming up with ideas and I start 80 00:03:34,080 --> 00:03:37,200 coming up as tunes. And once he finished 81 00:03:37,200 --> 00:03:39,599 shooting, I'm sort of just working in 82 00:03:39,599 --> 00:03:43,360 parallel with the cutting room. And all 83 00:03:43,360 --> 00:03:45,440 that happens is those 12 weeks of the 84 00:03:45,440 --> 00:03:47,360 lock picture which don't exist anymore. 85 00:03:47,360 --> 00:03:51,799 I just put them at the beginning. Now 86 00:03:55,280 --> 00:03:58,319 I write anything between two to five 87 00:03:58,319 --> 00:04:00,640 sort of fully fleshed out diaries and 88 00:04:00,640 --> 00:04:02,480 then there then they're just bits, you 89 00:04:02,480 --> 00:04:03,680 know, where you go, "Oh, hang on a 90 00:04:03,680 --> 00:04:05,360 second. I have an idea. I have an idea 91 00:04:05,360 --> 00:04:08,560 for a love theme. I have an idea for 92 00:04:08,560 --> 00:04:10,799 um yeah like like there was a wedding 93 00:04:10,799 --> 00:04:13,360 march I had to do in this movie. So so 94 00:04:13,360 --> 00:04:16,079 you know that that doesn't require more 95 00:04:16,079 --> 00:04:18,639 than you know just the specificity of 96 00:04:18,639 --> 00:04:22,400 writing that scene. But again just just 97 00:04:22,400 --> 00:04:25,680 to figure out 98 00:04:25,680 --> 00:04:28,080 what the best version of it is, you 99 00:04:28,080 --> 00:04:30,240 know, I wrote a long form version and 100 00:04:30,240 --> 00:04:31,759 then just cut it down, you know. It's 101 00:04:31,759 --> 00:04:34,479 it's actually quite simple, you know. 102 00:04:34,479 --> 00:04:37,280 You you have two types of notes in these 103 00:04:37,280 --> 00:04:38,960 diaries. You have the good notes and you 104 00:04:38,960 --> 00:04:40,639 have the bad notes. And after a while, 105 00:04:40,639 --> 00:04:42,560 you just go and yank the bad notes. And 106 00:04:42,560 --> 00:04:44,720 you just you just have to be ruthless 107 00:04:44,720 --> 00:04:46,880 about the stuff as well. This is in the 108 00:04:46,880 --> 00:04:48,800 tone of the movie and this isn't in the 109 00:04:48,800 --> 00:04:51,440 tone of the movie. And you f and it's 110 00:04:51,440 --> 00:04:54,639 partly that part, you know, that as I 111 00:04:54,639 --> 00:04:56,080 said, you know, getting it under your 112 00:04:56,080 --> 00:04:59,040 fingers is actually finding the tone. 113 00:04:59,040 --> 00:05:02,400 And once you find the tone, 114 00:05:02,400 --> 00:05:03,919 you know, you're not suddenly going to 115 00:05:03,919 --> 00:05:06,800 go into, you know, jazz odyssey 116 00:05:06,800 --> 00:05:09,199 improvisation. You know, it's it's it's 117 00:05:09,199 --> 00:05:12,000 going to be very specific to within, you 118 00:05:12,000 --> 00:05:13,919 know, the the style you've created for 119 00:05:13,919 --> 00:05:16,160 that movie. And, you know, there there 120 00:05:16,160 --> 00:05:17,919 are many different ones. There there's a 121 00:05:17,919 --> 00:05:19,919 there's a Sherlock one. There's a you 122 00:05:19,919 --> 00:05:22,160 know, there was an Irene Ardler one, 123 00:05:22,160 --> 00:05:26,000 which was endless. Um, because I could 124 00:05:26,000 --> 00:05:28,400 never quite pin their relationship down. 125 00:05:28,400 --> 00:05:30,560 But I don't think we ever managed to pin 126 00:05:30,560 --> 00:05:32,639 their relationship down. So I was 127 00:05:32,639 --> 00:05:34,639 writing 128 00:05:34,639 --> 00:05:37,600 music for a love story that never 129 00:05:37,600 --> 00:05:39,440 developed the way I wanted it to. So So 130 00:05:39,440 --> 00:05:41,280 you know, which is okay. You know, 131 00:05:41,280 --> 00:05:44,560 sometimes what you do with these suites 132 00:05:44,560 --> 00:05:46,240 as well is you you give them to your 133 00:05:46,240 --> 00:05:48,639 director and it gives him suddenly an 134 00:05:48,639 --> 00:05:52,960 idea of um how to approach a scene or 135 00:05:52,960 --> 00:05:54,960 you know or or sometimes it's just about 136 00:05:54,960 --> 00:05:57,039 you know wouldn't it have been nice if 137 00:05:57,039 --> 00:05:59,440 we had been able to develop a more 138 00:05:59,440 --> 00:06:02,479 complete relationship and sometimes it's 139 00:06:02,479 --> 00:06:05,039 just nice for myself that I actually go 140 00:06:05,039 --> 00:06:06,720 and 141 00:06:06,720 --> 00:06:08,479 I need to you know to figure out the 142 00:06:08,479 --> 00:06:09,840 character I figure it out somewhere in 143 00:06:09,840 --> 00:06:11,919 the middle of the piece, but I need to 144 00:06:11,919 --> 00:06:15,280 go and, you know, do the autobiography 145 00:06:15,280 --> 00:06:17,520 so I know what that character is about. 146 00:06:17,520 --> 00:06:19,280 And I might write scenes that don't 147 00:06:19,280 --> 00:06:21,520 exist, but that that are just imaginary 148 00:06:21,520 --> 00:06:24,880 in my head just to get to the the heart 149 00:06:24,880 --> 00:06:28,000 of the matter. But this material then 150 00:06:28,000 --> 00:06:30,479 becomes, you know, and I can give it um 151 00:06:30,479 --> 00:06:32,240 to arrangers and orchestrators. I can 152 00:06:32,240 --> 00:06:34,000 give it to other people on my team and 153 00:06:34,000 --> 00:06:35,759 say, "Hey, a second, you know, can you 154 00:06:35,759 --> 00:06:38,319 just do me the string quartet version of 155 00:06:38,319 --> 00:06:40,720 this? I think this tune is solid. I 156 00:06:40,720 --> 00:06:43,360 think, you know, go off and go off and 157 00:06:43,360 --> 00:06:47,120 have a play with it. Um, so the diary 158 00:06:47,120 --> 00:06:50,319 throws off a lot of other bits and 159 00:06:50,319 --> 00:06:51,759 pieces. You know, sometimes it's just 160 00:06:51,759 --> 00:06:54,160 like doing a remix where you, you know, 161 00:06:54,160 --> 00:06:56,160 you mute a bunch of tracks and there's 162 00:06:56,160 --> 00:06:57,759 some really interesting stuff going on 163 00:06:57,759 --> 00:07:00,319 in the background. Um, that in itself 164 00:07:00,319 --> 00:07:03,759 can become a cue. And again, I mean, the 165 00:07:03,759 --> 00:07:06,720 the the the the biggest help in in my 166 00:07:06,720 --> 00:07:10,080 process to me is my music editor who's 167 00:07:10,080 --> 00:07:12,639 sort of not only the leas between the 168 00:07:12,639 --> 00:07:17,880 cutting room and the film and me, but 169 00:07:18,240 --> 00:07:20,800 who is a very creative thinker himself 170 00:07:20,800 --> 00:07:23,759 and something that I knew was going to 171 00:07:23,759 --> 00:07:26,080 be only a love theme. and he suddenly 172 00:07:26,080 --> 00:07:27,919 figures out how to, you know, if you 173 00:07:27,919 --> 00:07:30,000 shove it over an action scene that it 174 00:07:30,000 --> 00:07:33,800 has an interesting effect. 175 00:07:37,680 --> 00:07:39,440 You know, the way I write is it just, 176 00:07:39,440 --> 00:07:41,120 you know, it's like I'm a computer. I'm 177 00:07:41,120 --> 00:07:43,120 just spilling out the RAM. You know, I 178 00:07:43,120 --> 00:07:44,479 just need to know what I need to know 179 00:07:44,479 --> 00:07:46,639 for this project and then it it's all 180 00:07:46,639 --> 00:07:49,520 gone. So, it makes room for for 181 00:07:49,520 --> 00:07:52,639 something new. So sometimes I go and 182 00:07:52,639 --> 00:07:54,080 look at these movies and it's like I'm 183 00:07:54,080 --> 00:07:56,400 seeing them for the first time. You 184 00:07:56,400 --> 00:08:00,000 know, I I learned a lot from 185 00:08:00,000 --> 00:08:04,160 Dark Knight, you know, it's it's 186 00:08:04,160 --> 00:08:06,080 the amount of recording, the amount of 187 00:08:06,080 --> 00:08:08,319 tracks we were at one point, we were at 188 00:08:08,319 --> 00:08:12,720 1,200 tracks of just music. Um, which 189 00:08:12,720 --> 00:08:14,800 was just sort of insane, you know, no 190 00:08:14,800 --> 00:08:16,560 wonder I was feeling a bit wobbly on the 191 00:08:16,560 --> 00:08:20,240 last scoring date. Um, 192 00:08:20,240 --> 00:08:23,039 so by the time it came to Dark Knight 193 00:08:23,039 --> 00:08:26,240 Rises, I was actually doing a lot of the 194 00:08:26,240 --> 00:08:28,479 mixing just, 195 00:08:28,479 --> 00:08:31,120 you know, on my laptop basically and I 196 00:08:31,120 --> 00:08:33,680 would give far more efficient tracks 197 00:08:33,680 --> 00:08:35,279 over to the dubbing engineer. But 198 00:08:35,279 --> 00:08:37,279 really, you know, the person who manages 199 00:08:37,279 --> 00:08:41,440 it is my music editor um to one degree 200 00:08:41,440 --> 00:08:44,159 or another. And then and then one of the 201 00:08:44,159 --> 00:08:45,839 things you learn really really quickly 202 00:08:45,839 --> 00:08:48,160 is you got to be really good about your 203 00:08:48,160 --> 00:08:50,800 numbering systems, your organization. 204 00:08:50,800 --> 00:08:53,760 There's you know when I started out you 205 00:08:53,760 --> 00:08:56,720 know I I lost so many pieces which never 206 00:08:56,720 --> 00:08:58,320 ever appeared again. I mean I I remember 207 00:08:58,320 --> 00:09:01,200 on Blackhawk Down cuz we working in a in 208 00:09:01,200 --> 00:09:04,399 in a serious hurry and and the age of 209 00:09:04,399 --> 00:09:06,720 hard disk recording hadn't quite sort of 210 00:09:06,720 --> 00:09:08,480 caught up with us. So we had this 211 00:09:08,480 --> 00:09:10,240 ProTools system where it took forever to 212 00:09:10,240 --> 00:09:13,200 load. So whenever somebody had an idea, 213 00:09:13,200 --> 00:09:15,200 we would just shoot it on a handheld 214 00:09:15,200 --> 00:09:17,120 video camera. Everybody had a handheld 215 00:09:17,120 --> 00:09:19,440 video camera. And so that became the 216 00:09:19,440 --> 00:09:22,320 sort of a way of, you know, oh, hang on 217 00:09:22,320 --> 00:09:25,279 quick. I got a tune. Just shoot it. Um, 218 00:09:25,279 --> 00:09:27,120 and there's one tune which we could 219 00:09:27,120 --> 00:09:29,440 never find again. And of course, it's in 220 00:09:29,440 --> 00:09:32,399 the making of. And so every time uh you 221 00:09:32,399 --> 00:09:34,560 know somebody's made me watch the making 222 00:09:34,560 --> 00:09:37,680 of the music of Blackhawk Down, you know 223 00:09:37,680 --> 00:09:39,920 uh because it was a it was a really good 224 00:09:39,920 --> 00:09:41,360 tune and it should have been in the 225 00:09:41,360 --> 00:09:43,760 movie. So So you learn at a you know you 226 00:09:43,760 --> 00:09:45,680 you got to be organized. You have to 227 00:09:45,680 --> 00:09:48,720 have people who force you to and I am 228 00:09:48,720 --> 00:09:52,240 not organized. So, so just by admitting 229 00:09:52,240 --> 00:09:54,240 that you know that I have people around 230 00:09:54,240 --> 00:09:57,360 me who uh 231 00:09:57,360 --> 00:10:01,519 you know who celebrate OCD like nobody's 232 00:10:01,519 --> 00:10:04,519 business 233 00:10:08,560 --> 00:10:12,959 for me. I mean for literally personally 234 00:10:12,959 --> 00:10:15,839 um an for me an unsuccessful score is 235 00:10:15,839 --> 00:10:17,440 something 236 00:10:17,440 --> 00:10:20,240 um where I'm just repeating myself 237 00:10:20,240 --> 00:10:23,040 um which doesn't mean that I don't 238 00:10:23,040 --> 00:10:24,640 repeat myself. There are certain 239 00:10:24,640 --> 00:10:27,360 questions, you know, I I think we all 240 00:10:27,360 --> 00:10:29,440 have that there are certain questions 241 00:10:29,440 --> 00:10:31,839 which we've had all our lives which 242 00:10:31,839 --> 00:10:34,160 we're trying to find an answer to and we 243 00:10:34,160 --> 00:10:36,800 just and the opportunity you know 244 00:10:36,800 --> 00:10:39,200 working in film for instance that you 245 00:10:39,200 --> 00:10:41,600 have is 246 00:10:41,600 --> 00:10:43,200 ultimately you're just sort of writing 247 00:10:43,200 --> 00:10:44,480 from your point of view and you're 248 00:10:44,480 --> 00:10:46,640 writing about yourself and you keep 249 00:10:46,640 --> 00:10:48,880 asking the same questions. I mean why 250 00:10:48,880 --> 00:10:51,120 are there so many love songs you know? 251 00:10:51,120 --> 00:10:53,920 Well, people try to figure it out, you 252 00:10:53,920 --> 00:10:56,800 know. So, so if I come up with the same 253 00:10:56,800 --> 00:11:00,640 answer, then I've failed. But if I if if 254 00:11:00,640 --> 00:11:04,160 if I figure out how to just shift the 255 00:11:04,160 --> 00:11:06,640 answer a bit further forward, if I can 256 00:11:06,640 --> 00:11:11,360 ask a new question. Um, and I'm always 257 00:11:11,360 --> 00:11:13,680 more interested in that every score 258 00:11:13,680 --> 00:11:15,600 should actually throw up questions as 259 00:11:15,600 --> 00:11:18,720 opposed to answer them. Um, I think the 260 00:11:18,720 --> 00:11:20,959 question is always more compelling than 261 00:11:20,959 --> 00:11:24,480 the answer, you know. Oh, turns out the 262 00:11:24,480 --> 00:11:28,160 Earth isn't flat, so it's round. Okay, 263 00:11:28,160 --> 00:11:30,320 you know, now that I know that, what am 264 00:11:30,320 --> 00:11:33,440 I going to do with it? You know, um, 265 00:11:33,440 --> 00:11:35,040 look, if you just start with the 266 00:11:35,040 --> 00:11:39,399 character, um, 267 00:11:40,000 --> 00:11:41,920 and let me stay specifically with 268 00:11:41,920 --> 00:11:44,160 Sherlock. 269 00:11:44,160 --> 00:11:46,480 Let's say you didn't see the trailer or 270 00:11:46,480 --> 00:11:47,680 anything like this. Let's say you're 271 00:11:47,680 --> 00:11:49,279 just going to the theater and you're 272 00:11:49,279 --> 00:11:50,800 going to go and see a Sherlock Holmes 273 00:11:50,800 --> 00:11:52,720 film. You're coming with a certain 274 00:11:52,720 --> 00:11:56,880 amount of um baggage. You you you you 275 00:11:56,880 --> 00:11:59,200 think you already know the answers and 276 00:11:59,200 --> 00:12:01,200 the first thing I'm doing is I'm 277 00:12:01,200 --> 00:12:04,800 throwing you off kilter. I'm going it's 278 00:12:04,800 --> 00:12:08,160 got bananos in it. I didn't expect that. 279 00:12:08,160 --> 00:12:11,279 So, so do that, you know, just just but 280 00:12:11,279 --> 00:12:13,600 do it in an appropriate way. It's not 281 00:12:13,600 --> 00:12:17,519 random. It's not anarchy. It's it's it's 282 00:12:17,519 --> 00:12:20,720 figure out how to make the 283 00:12:20,720 --> 00:12:23,680 character compelling by you questioning 284 00:12:23,680 --> 00:12:26,639 everything about him all the time, you 285 00:12:26,639 --> 00:12:29,839 know. Um, and oh, he he did that. I 286 00:12:29,839 --> 00:12:32,000 didn't expect him to do that. Oh, the 287 00:12:32,000 --> 00:12:35,680 Joker did that. I didn't I didn't expect 288 00:12:35,680 --> 00:12:38,880 that. So, so, so that I mean part of the 289 00:12:38,880 --> 00:12:41,600 part of how to ask the question is 290 00:12:41,600 --> 00:12:43,680 you're supposed to do something slightly 291 00:12:43,680 --> 00:12:46,320 unexpected. 292 00:12:46,320 --> 00:12:49,200 That's in itself is a question, you 293 00:12:49,200 --> 00:12:52,639 know, and I think you're supposed to 294 00:12:52,639 --> 00:12:56,240 give an audience an experience. I think 295 00:12:56,240 --> 00:12:58,959 I think that's our job. And I think the 296 00:12:58,959 --> 00:13:01,200 experience isn't to answer the question. 297 00:13:01,200 --> 00:13:04,160 I think the experience is to go away and 298 00:13:04,160 --> 00:13:05,680 the next day go, you know, you know that 299 00:13:05,680 --> 00:13:07,600 bit, you know that bit where it all 300 00:13:07,600 --> 00:13:09,519 explodes and there was that crazy 301 00:13:09,519 --> 00:13:12,160 violin. Why did he do that? Why, you 302 00:13:12,160 --> 00:13:14,000 know, and why am I still remembering 303 00:13:14,000 --> 00:13:16,639 this? You know that it's you would just 304 00:13:16,639 --> 00:13:18,720 want to throw a pebble in and the 305 00:13:18,720 --> 00:13:20,880 circles get bigger until the question 306 00:13:20,880 --> 00:13:25,399 becomes a real question. 307 00:13:30,000 --> 00:13:32,720 We humans seem to like the idea of 308 00:13:32,720 --> 00:13:34,720 symmetrical phrases. So, you know, yes, 309 00:13:34,720 --> 00:13:36,880 your your two bars, four bars, eight 310 00:13:36,880 --> 00:13:39,760 bars, 16 bars, you know, works for 311 00:13:39,760 --> 00:13:42,160 Mozart, works for disco, works for funk, 312 00:13:42,160 --> 00:13:44,560 works for folk songs, you know, and then 313 00:13:44,560 --> 00:13:46,639 you every once in a while you get the 314 00:13:46,639 --> 00:13:49,440 occasional one that steps out of it like 315 00:13:49,440 --> 00:13:51,200 I think yesterday, you know, the 316 00:13:51,200 --> 00:13:53,040 McCartney song, I think that's a seven 317 00:13:53,040 --> 00:13:56,079 bar phrase. It just works like that and 318 00:13:56,079 --> 00:13:58,880 it feels symmetrical and feels complete. 319 00:13:58,880 --> 00:14:03,680 Um, and that's when you go genius. 320 00:14:03,680 --> 00:14:05,199 You know, when the rules are broken 321 00:14:05,199 --> 00:14:07,040 without you noticing the rules, that's 322 00:14:07,040 --> 00:14:09,199 when you know that that's when some some 323 00:14:09,199 --> 00:14:13,360 somebody adds a new um piece to to the 324 00:14:13,360 --> 00:14:17,120 vocabulary in a way. I mean that 325 00:14:17,120 --> 00:14:18,880 and I should try to just play it 326 00:14:18,880 --> 00:14:20,720 slightly slower and a little bit more 327 00:14:20,720 --> 00:14:24,360 properly, but that 328 00:14:24,720 --> 00:14:29,560 thin red line journey to the line piece. 329 00:14:33,839 --> 00:14:35,680 It breaks every rule. You're not 330 00:14:35,680 --> 00:14:39,120 supposed to do this parallel movement, 331 00:14:39,120 --> 00:14:40,639 you know. I'm just moving. Everything is 332 00:14:40,639 --> 00:14:44,639 moving in parallel. Um, it's an 11 bar 333 00:14:44,639 --> 00:14:49,120 phrase and therefore it's asymmetrical. 334 00:14:49,120 --> 00:14:50,720 Um, 335 00:14:50,720 --> 00:14:52,480 for for the longest time it doesn't 336 00:14:52,480 --> 00:14:55,360 quite know which key it's in and it 337 00:14:55,360 --> 00:14:57,120 keeps just repeating over and over and 338 00:14:57,120 --> 00:15:00,320 and eventually the 11 bar phrase 339 00:15:00,320 --> 00:15:02,560 shortens down to a 10 bar phrase and it 340 00:15:02,560 --> 00:15:05,440 just suddenly gives you this sort of 341 00:15:05,440 --> 00:15:10,880 jolt. So if you put that in front of 342 00:15:10,880 --> 00:15:14,160 a music teacher before it was in the 343 00:15:14,160 --> 00:15:16,639 movie, before people went, "Oh, that's a 344 00:15:16,639 --> 00:15:20,959 pretty good piece." An academic 345 00:15:20,959 --> 00:15:22,959 mind would have told you there's 346 00:15:22,959 --> 00:15:25,519 everything wrong about it. So the the 347 00:15:25,519 --> 00:15:28,399 the the trick is is 348 00:15:28,399 --> 00:15:31,519 it's not a trick that but it's the 349 00:15:31,519 --> 00:15:33,600 mission or you know part of the mission 350 00:15:33,600 --> 00:15:37,839 is to find out and maybe this is how I 351 00:15:37,839 --> 00:15:40,880 grew up you know where if somebody tells 352 00:15:40,880 --> 00:15:44,240 you that there's a rule you have to 353 00:15:44,240 --> 00:15:46,399 figure out how to break it because 354 00:15:46,399 --> 00:15:48,000 that's the only thing that moves things 355 00:15:48,000 --> 00:15:50,720 forward. Do I have certain rules I go 356 00:15:50,720 --> 00:15:52,720 to? 357 00:15:52,720 --> 00:15:55,040 Yes. because I want to go and figure out 358 00:15:55,040 --> 00:15:57,360 how to how to break them in the most 359 00:15:57,360 --> 00:15:59,920 elegant way, how to how to do it in a 360 00:15:59,920 --> 00:16:02,880 way that you 361 00:16:02,880 --> 00:16:05,199 sometimes you don't even you don't even 362 00:16:05,199 --> 00:16:07,839 know and that that's very important to 363 00:16:07,839 --> 00:16:09,920 me that you know that you don't see the 364 00:16:09,920 --> 00:16:11,839 hand of the artist at work all the time. 365 00:16:11,839 --> 00:16:14,880 I think that's you just you you just 366 00:16:14,880 --> 00:16:16,399 feel that something new or something 367 00:16:16,399 --> 00:16:21,440 fresh is occurring um 368 00:16:21,440 --> 00:16:23,040 without seeing you know without seeing 369 00:16:23,040 --> 00:16:25,360 the without seeing the horrible surgery. 370 00:16:25,360 --> 00:16:28,360 Three.