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You know, there's a there's like a s of

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a bottom line question that always

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hovers in the back of every conversation

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I have with anybody who wants to get

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into doing film music, which is how do

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you get into film music? Um, and

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honestly, I can't tell you how other

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than

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you you have to be you have to feel

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compelled to tell story. That's what you

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want to do. Okay, here's my lesson for

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you. Whoever wants to be a film composer

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or even a composer or a musician, it's

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it's a terrible career move. It's

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terrible. there are so few

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opportunities,

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you know, and most of the time, you

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know, it's not going to work out or

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you're going to be starving or you're

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not going to, you know, you're going to

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get chucked out of your flat for not

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paying the rent. These are all things

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that have happened. I'm speaking from

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experience. And the only reason to do it

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is is because if you don't write music,

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you would die. I mean, literally, you

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have to be that

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crazy. I mean I I can't do anything. I

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mean you you know I mean I never learned

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anything. I can't have a normal job.

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This is my this is the only option I

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have and as much as on a movie I always

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have this thing about executing plan B

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flawlessly. You know I had that solar

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violin not worked out. I know how to

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write an action score a conventional

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action score. But as far as am I a film

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composer or am I not a film composer?

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There is no plan B. you know, there

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isn't, you know, there isn't the uh I

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learned dentistry in my spare time and I

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can support myself that way. And I think

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it helps. I think I think there's

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nothing wrong with always being right at

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the edge of the ledge. Um, and right

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from that position,

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I tell you these stories and they're all

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funny and you know because they're all

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the the funny stories because we got

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through it. We got through it because

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because we had the you know because we

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failed a lot at it. I mean, you know,

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the the weird thing is it doesn't matter

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which score you listen to that that is

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successful. It

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and sounds easy. I mean, this stuff

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sounds incredibly easy. You know, hey,

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it just came in one morning and there it

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was. It's not like that. You know that

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there are there the first thing you have

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to do if you decide you're going to

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write a piece of music or you're going

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to write anything is you have to make an

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agreement with yourself

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that you're going to have the courage to

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sit there and struggle about each little

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note because they they aren't just

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there. You have to fight for each note

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and it's going to take a long time and

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you're not going to go home and see your

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kids. You're going to miss Christmas.

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you're gonna, you know, you know, your

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friends are out partying and you're

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still like trying to hunt that note

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down. And weirdly, there's a there's a

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like a whole part where it gets really

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boring as well. You know, the invention

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part is fun and dangerous and

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then comes the actual, okay, now now

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I've done all the thinking and the

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inventing, now I have to actually go and

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execute it.

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um

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you know so you've have to find a

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balance for instance of not overthinking

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the thing because you you you need to

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keep the the the the danger and the

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enthusiasm and the momentum going

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sometimes originality and you know like

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a great idea I mean that's all it takes

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I mean what do you think got me through

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the door some you know I had a I was

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making coffee for Stanley Myers and one

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day I said well what about if we you

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know and for a moment everybody stopped

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and they listened to me and we tried the

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idea and

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I didn't make a lot of coffee after that

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I mean I I remember Ramin Javi you know

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Games of Throne um Iron Man

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I actually didn't know he was a musician

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until one night I I had gotten

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completely unstuck on Pirates and I

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going home with, you know, like knowing,

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you know, I should just quit and it

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wasn't going to happen. And he very

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politely said, you know, since I was

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leaving my room, would I mind if he

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played around a bit? And we all came in

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the next morning, Gabinsky, um, Jerry

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Brookheimr, and

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Ramine was there. He hadn't gone to bed

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yet. He said, well, and I said, okay,

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let's have a look at it. And it was it

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was brilliant. I mean he'd taken

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he'd taken my tune that I couldn't make

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work to the scene and somehow just by

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just by being brilliant and clever and

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an original thinker and and and made

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something which was ordinary and

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serviceable at best using govinsk's

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words here into something where we all

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went that's the movie you know so um I

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think that's the last time Ramine ever

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made a cup of coffee.

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These are the things and the these are

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some of the things I wish I had really

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known. I wish I had

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known that people are willing to trust

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you. I wish I had known that people are

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willing to um listen to you. I wish I

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had known that people are much more

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prepared to take risks and want you to

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take risks. If you don't take risks,

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they get a little bored with you. And

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when they get a little bored with you,

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the audience gets a little bored with

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you. And I think the greatest offense

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you can commit as an entertainer. I am

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not a concert composer. I don't write

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precious classical music. I'm in the

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entertainment business. Um,

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make sure that you are entertained. It's

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not about

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playing to the gallery, but make sure

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check with yourself that the stuff

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you're doing um is actually

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gets you excited and and and everybody

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else will, you know, people will follow

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along. If it's a compelling idea, people

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will support you in it. And sometimes

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these compelling ideas get me into a lot

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of trouble and I paint myself in a

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corner. And then you have your music

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editors, you have your editors, you have

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your orchestrators, and most of all you

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have the musicians who get you out of

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deep water.