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00:00:06,000 --> 00:00:12,074
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The piano we built
for this movie "The Homesman",
3
00:00:47,336 --> 00:00:50,306
the problem with this is that
it's out in the elements,
4
00:00:50,339 --> 00:00:54,243
and it disintegrates.
5
00:00:54,277 --> 00:00:57,646
But I think it's
a noble death for a piano.
6
00:00:59,315 --> 00:01:01,517
The wind is a big feature
in the movie
7
00:01:01,550 --> 00:01:06,254
and we thought that it'd be great
to be able to tune the wind.
8
00:01:14,496 --> 00:01:16,731
It sounds really amazing.
9
00:01:22,704 --> 00:01:25,507
This is part of the fun
of experimenting.
10
00:01:25,540 --> 00:01:28,343
You know, you figure
this stuff out.
11
00:01:36,418 --> 00:01:38,620
One interesting thing
that happens
12
00:01:38,653 --> 00:01:41,756
is the sound travels
through the wire
13
00:01:41,789 --> 00:01:43,491
faster than it travels
through the air,
14
00:01:43,525 --> 00:01:45,860
so you get this reverse echo,
which is really cool.
15
00:01:45,893 --> 00:01:49,663
You don't even have to put
any effect on the sound at all.
16
00:01:51,765 --> 00:01:54,801
I mean, you can hear it
all the way down in the valley.
17
00:01:54,835 --> 00:01:57,504
It's more than just the concept
of doing something cool
18
00:01:57,538 --> 00:02:00,774
that nobody's done before.
It's more fun.
19
00:02:00,807 --> 00:02:04,044
Samurai's death here,
on the hill.
20
00:02:13,987 --> 00:02:15,856
When you hear "Rocky"...
21
00:02:19,025 --> 00:02:23,464
Everybody in the audience
knows what's going on.
22
00:02:23,497 --> 00:02:26,633
The composer
is a storyteller.
23
00:02:26,667 --> 00:02:30,470
Music has the ability
to shape and in some cases alter
24
00:02:30,503 --> 00:02:33,473
or even subvert what
the filmmaker is communicating.
25
00:02:37,610 --> 00:02:39,879
The score is the heart
and the soul of the film.
26
00:02:39,912 --> 00:02:43,349
Film music can make an
exciting scene more exciting.
27
00:02:43,383 --> 00:02:44,984
We call it
"emotion lotion",
28
00:02:45,017 --> 00:02:47,887
because we can make you feel
anything we want you to feel.
29
00:02:47,920 --> 00:02:50,790
It's being able
to communicate on a level
30
00:02:50,823 --> 00:02:53,926
that they can't
tell in pictures.
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00:02:53,959 --> 00:02:55,495
Great film music can elevate.
32
00:03:16,781 --> 00:03:18,583
music has always been
33
00:03:18,617 --> 00:03:20,452
a part of the cinema-going
experience,
34
00:03:20,485 --> 00:03:23,522
as far back as 1895
when the Lumi�re brothers
35
00:03:23,555 --> 00:03:25,390
were experimenting
in Paris.
36
00:03:25,424 --> 00:03:27,926
In the earliest days,
it is true,
37
00:03:27,959 --> 00:03:29,761
music was thought of
as something
38
00:03:29,794 --> 00:03:31,162
to cover up the noise
of the projector.
39
00:03:34,165 --> 00:03:36,701
Silent films were never silent.
40
00:03:38,970 --> 00:03:43,408
There was at least a pianist
in the smallest nickelodeons,
41
00:03:43,442 --> 00:03:47,512
and sometimes the bridge between
them was a theatre organ.
42
00:03:50,749 --> 00:03:52,883
There were many
theatre organ makers,
43
00:03:52,916 --> 00:03:55,553
but the one that
produced the most organs,
44
00:03:55,586 --> 00:03:58,656
and is thought to be
probably the best
45
00:03:58,689 --> 00:04:00,724
is the name wurlitzer.
46
00:04:03,861 --> 00:04:06,764
They showed how a person
could bring to life
47
00:04:06,797 --> 00:04:09,132
the movies that were
otherwise quiet.
48
00:04:17,841 --> 00:04:21,411
They either did a score
that was printed for them,
49
00:04:24,648 --> 00:04:27,718
or they improvised
and created their own.
50
00:04:30,588 --> 00:04:34,157
They were made part
of the moviegoing experience.
51
00:04:38,961 --> 00:04:40,697
A number of people had toyed
52
00:04:40,730 --> 00:04:42,999
with the idea of scores
in Hollywood.
53
00:04:43,032 --> 00:04:46,202
Max Steiner's score
for "King Kong" in 1933
54
00:04:46,235 --> 00:04:47,937
was a landmark.
55
00:04:47,970 --> 00:04:49,238
When "King Kong" came out,
56
00:04:49,271 --> 00:04:53,075
"Wait a second.
Orchestra music in a movie?"
57
00:05:00,149 --> 00:05:02,251
the only reason
he was able to do it
58
00:05:02,284 --> 00:05:03,986
is because
the movie wasn't scary.
59
00:05:04,020 --> 00:05:05,822
It looked kitschy and stupid,
60
00:05:05,855 --> 00:05:08,190
because it was so...
It was kitschy and stupid.
61
00:05:08,224 --> 00:05:09,792
But then he put that music in.
62
00:05:14,964 --> 00:05:18,166
It completely changed the movie.
It made it frightening.
63
00:05:28,877 --> 00:05:30,879
People had not done
that before.
64
00:05:30,912 --> 00:05:33,248
It was really
the first major score
65
00:05:33,281 --> 00:05:37,619
that demonstrated conclusively
the power of music in film.
66
00:05:37,653 --> 00:05:39,855
Alfred Newman came
from new haven, Connecticut,
67
00:05:39,888 --> 00:05:42,824
an iconic figure
in the history of film music.
68
00:05:48,930 --> 00:05:51,900
A sound that favors horns
and woodwinds.
69
00:05:54,770 --> 00:05:56,304
My father was Alfred Newman.
70
00:05:56,337 --> 00:05:58,773
In 1930, he came to L.A.
71
00:06:02,276 --> 00:06:04,044
He was at 20th Century Fox
for 20 years.
72
00:06:04,078 --> 00:06:09,316
The Fox logo... arguably the most
famous logo ever written...
73
00:06:09,349 --> 00:06:12,987
It wasn't written for Fox, it was written
for Goldwyn and it was rejected.
74
00:06:13,020 --> 00:06:16,156
And then he used it for fox
and Darryl Zanuck loved it.
75
00:06:16,190 --> 00:06:20,561
There was nothing like that orchestra.
I'm talking about rubato.
76
00:06:20,595 --> 00:06:25,165
It means "slowing down and
speeding up in an expressive way".
77
00:06:25,199 --> 00:06:27,902
You would never read
a line of text like,
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00:06:27,935 --> 00:06:31,271
"I went to the market today".
79
00:06:31,305 --> 00:06:33,608
"I went to the market today".
80
00:06:33,641 --> 00:06:37,645
You'd have a... you'd have
a structure of a phrase.
81
00:06:37,678 --> 00:06:40,747
That is so uber important
in music.
82
00:06:40,780 --> 00:06:43,883
They became expert
at making that musical.
83
00:06:43,917 --> 00:06:47,787
That helped define what we know
as the classic Hollywood sound.
84
00:06:52,058 --> 00:06:53,727
A spotting session
is the first time
85
00:06:53,760 --> 00:06:56,129
we all get together,
look at the movie,
86
00:06:56,162 --> 00:06:57,797
and decide where
the music's gonna go,
87
00:06:57,831 --> 00:07:00,133
and what type of music
it's going to be.
88
00:07:00,166 --> 00:07:02,802
All movies,
the first 20 minutes
89
00:07:02,836 --> 00:07:05,338
are too slow
because we're laying pipe.
90
00:07:05,371 --> 00:07:09,643
So we want the music
to be something but not crazy.
91
00:07:09,676 --> 00:07:12,278
The goal of a spotting session
is to have a dialogue
92
00:07:12,311 --> 00:07:16,315
with the composer that you've
probably been postponing.
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00:07:16,349 --> 00:07:18,952
I've done my work,
I've done my design,
94
00:07:18,985 --> 00:07:21,755
I've cast the movie,
I've shot it.
95
00:07:21,788 --> 00:07:23,355
We've done all our beautiful
photography,
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00:07:23,388 --> 00:07:26,291
we've done all
our super-brilliant editing.
97
00:07:26,324 --> 00:07:29,061
Now it's going through
and trying to communicate
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00:07:29,094 --> 00:07:31,697
what I've heard in my mind.
99
00:07:38,704 --> 00:07:41,039
Ah, mothers.
100
00:07:41,073 --> 00:07:42,975
Mothers are our rocks.
101
00:07:43,008 --> 00:07:45,310
So it says
"open road pictures",
102
00:07:45,343 --> 00:07:49,948
then we're going to cut
to possibly not the front door
103
00:07:49,982 --> 00:07:51,784
but a shot
before the front door...
104
00:07:51,817 --> 00:07:54,653
...that establishes the house.
- Got it.
105
00:07:54,687 --> 00:07:56,655
Spotting, to me,
is really important
106
00:07:56,689 --> 00:07:59,424
because it gives me an idea of
what the director's looking at
107
00:07:59,457 --> 00:08:01,827
and what he's looking for.
108
00:08:01,860 --> 00:08:04,361
- Something that's peppy right away...
- Peppy, yep.
109
00:08:04,395 --> 00:08:06,130
And then we come here
and we slow down.
110
00:08:06,163 --> 00:08:07,331
Kind of settle on that.
111
00:08:07,364 --> 00:08:08,966
You're collaborating
with people.
112
00:08:09,000 --> 00:08:11,836
I want them to feel
like a filmmaker like them
113
00:08:11,869 --> 00:08:13,370
has come into the process.
114
00:08:13,404 --> 00:08:15,072
I'm the one
that specializes in
115
00:08:15,106 --> 00:08:16,808
this one thing that they're
uncomfortable with.
116
00:08:16,841 --> 00:08:19,143
You're trying
to come up with music
117
00:08:19,176 --> 00:08:23,347
that supports the scene and
complements it in an unobtrusive way.
118
00:08:23,380 --> 00:08:25,917
You spend as much time
as you can
119
00:08:25,950 --> 00:08:28,319
immersing yourself
in the backstory.
120
00:08:28,352 --> 00:08:29,821
As a film composer,
121
00:08:29,854 --> 00:08:31,388
you're part
of the storytelling team.
122
00:08:31,422 --> 00:08:33,324
Do you want to spin
forward to the next cue, Garry?
123
00:08:33,357 --> 00:08:34,959
- Yeah.
- This one sort of
124
00:08:34,992 --> 00:08:36,761
ends when she comes
around the corner, right?
125
00:08:36,794 --> 00:08:40,832
I try to get a sense
of what their insecurities are.
126
00:08:40,865 --> 00:08:41,933
The more time
you spend with them,
127
00:08:41,966 --> 00:08:43,367
the more you get
those answers.
128
00:08:43,400 --> 00:08:45,402
Most directors don't know
how to convert emotions
129
00:08:45,436 --> 00:08:49,205
into musical... into music.
130
00:08:49,239 --> 00:08:53,376
So the composer has to kind
of act almost like a therapist
131
00:08:53,409 --> 00:08:55,245
and go through
all this mishmash
132
00:08:55,278 --> 00:08:57,213
of what the director's saying
and get the essence of it.
133
00:08:57,247 --> 00:09:01,051
What if we kind of
tail right into that?
134
00:09:01,084 --> 00:09:02,418
- Yeah, right, you don't need to go...
- Right?
135
00:09:02,452 --> 00:09:04,387
- Don't score him?
- Maybe don't score...
136
00:09:04,420 --> 00:09:06,823
Just put a nice little
transition, Garry,
137
00:09:06,857 --> 00:09:09,025
that kind of
just spills over.
138
00:09:09,059 --> 00:09:10,293
- And then he comes up.
- Yeah.
139
00:09:10,326 --> 00:09:12,462
Something like that
maybe? Yeah.
140
00:09:12,495 --> 00:09:15,065
We got the...
We got the gist of it.
141
00:09:15,098 --> 00:09:17,801
Sort of in that first
conversation with the director
142
00:09:17,834 --> 00:09:19,402
I have glimpses of
what it could be.
143
00:09:19,435 --> 00:09:21,838
Every project starts
roughly the same way.
144
00:09:21,872 --> 00:09:25,141
Somebody comes into the room
and says, "I've got this idea.
145
00:09:25,175 --> 00:09:28,744
It'll be fun to do.
It'll be a fun adventure", etc.
146
00:09:28,778 --> 00:09:31,847
And they tell you the idea and you
get drawn in and you get excited.
147
00:09:31,881 --> 00:09:34,383
And you're flattered that
they're even considering you.
148
00:09:34,416 --> 00:09:36,952
"Whoa, me", you know.
"I get to go on this ride".
149
00:09:36,986 --> 00:09:40,990
And then they leave the room and then
you have a moment of reflection.
150
00:09:41,023 --> 00:09:43,859
You go, "I have no idea
how to do this.
151
00:09:43,893 --> 00:09:45,160
Oh, my god".
152
00:09:45,194 --> 00:09:46,461
And then after a while
you think
153
00:09:46,495 --> 00:09:48,263
should you be phoning them
and saying,
154
00:09:48,297 --> 00:09:51,166
you know, "Hey, I think you
better phone John Williams.
155
00:09:51,200 --> 00:09:52,768
I have no idea
how to do this".
156
00:09:52,802 --> 00:09:55,237
You know, the blank page
is always the blank page.
157
00:09:55,270 --> 00:09:58,007
Plus, I have no idea
where music comes from.
158
00:09:58,040 --> 00:10:01,811
So there's always the fear that
somebody's going to switch off the tap.
159
00:10:04,579 --> 00:10:06,381
This is a film called "Race".
160
00:10:06,415 --> 00:10:09,851
I've been working on it for
a week, so I'm just beginning.
161
00:10:09,884 --> 00:10:11,485
I'm just sort of getting
into my process with it.
162
00:10:11,519 --> 00:10:15,890
Where I'm thinking it should
start is... is just coming up.
163
00:10:15,924 --> 00:10:19,260
And I'm going to start with it
coming in really, really quietly.
164
00:10:19,293 --> 00:10:21,495
No.
165
00:10:21,529 --> 00:10:23,965
Well, why not?
166
00:10:23,998 --> 00:10:27,101
You want to win a gold medal?
167
00:10:27,135 --> 00:10:29,537
- Sure.
- You want to do it in Berlin?
168
00:10:31,940 --> 00:10:33,808
Well, I mean, unless you were
planning on waiting...
169
00:10:33,842 --> 00:10:37,912
There's a change of direction
in the scene.
170
00:10:37,946 --> 00:10:41,015
And that's often a prompt
for where music will come in.
171
00:10:43,151 --> 00:10:44,152
Well,
they don't care for 'em much
172
00:10:44,185 --> 00:10:46,988
here in Columbus, either.
173
00:10:47,021 --> 00:10:49,357
Is that gonna
be problem?
174
00:10:50,925 --> 00:10:52,359
No sir.
175
00:10:52,392 --> 00:10:54,127
I just came here to run.
176
00:10:54,161 --> 00:10:56,363
Well then, for
the next 28 months,
177
00:10:56,396 --> 00:10:58,598
you're either in a classroom,
or you're on that track,
178
00:10:58,631 --> 00:11:01,134
every hour, every day.
179
00:11:02,970 --> 00:11:04,304
As a composer,
180
00:11:04,337 --> 00:11:05,939
when you're sitting there
watching a film,
181
00:11:05,973 --> 00:11:08,008
it's not like watching
a play or real life.
182
00:11:08,041 --> 00:11:10,343
There's camera positions,
there's cuts.
183
00:11:10,377 --> 00:11:14,581
It's an incredibly artificial
medium in a way,
184
00:11:14,614 --> 00:11:17,017
and it's really nothing
like real life.
185
00:11:17,050 --> 00:11:20,287
We have to find clever ways
to introduce something familiar.
186
00:11:23,156 --> 00:11:25,292
A motif
is a group of notes
187
00:11:25,325 --> 00:11:27,594
that might highlight
what a film score is.
188
00:11:27,627 --> 00:11:30,063
A good example
would be "Close encounters".
189
00:11:39,205 --> 00:11:41,640
Beethoven was
one the first composers
190
00:11:41,673 --> 00:11:46,345
to really take a theme or motif
and spin it out in a huge way.
191
00:11:48,447 --> 00:11:50,149
Beethoven's
"Fifth symphony,"
192
00:11:52,018 --> 00:11:54,420
the entire piece is based
on that ya-ta-ta-ta rhythm.
193
00:11:54,453 --> 00:11:57,256
Simple hooks,
just like a pop song.
194
00:11:57,289 --> 00:11:59,926
But you're then casting them
in different lights.
195
00:12:04,596 --> 00:12:06,432
By using motifs,
196
00:12:06,465 --> 00:12:10,636
it helps you to understand
the relationships in the story.
197
00:12:10,669 --> 00:12:13,039
Dear Bilbo.
198
00:12:14,941 --> 00:12:18,509
When you hear a certain
motif, you connect it.
199
00:12:27,986 --> 00:12:30,555
And it actually helped you
follow the story.
200
00:12:30,588 --> 00:12:35,260
Nine companions.
201
00:12:44,502 --> 00:12:46,537
By the time you get
to the end of the film,
202
00:12:46,571 --> 00:12:50,241
when you play that music
in its full glory,
203
00:12:50,275 --> 00:12:52,443
it's already familiar
to the audience.
204
00:12:56,314 --> 00:12:58,382
We're kind of building things
up to that main course.
205
00:13:04,421 --> 00:13:07,024
The director
is not a huge fan
206
00:13:07,057 --> 00:13:09,459
of strictly orchestral
elements,
207
00:13:09,493 --> 00:13:11,128
so we're exploring.
208
00:13:11,161 --> 00:13:12,662
In here, this is buck.
209
00:13:12,696 --> 00:13:15,632
He's working on a movie now
called "The gunman"
210
00:13:15,665 --> 00:13:18,168
that we're working on
together.
211
00:13:18,202 --> 00:13:21,438
We're a little bit
under the gun,
212
00:13:21,471 --> 00:13:22,973
and that's
nerve-racking.
213
00:13:23,007 --> 00:13:24,241
One of the things
we were working at was
214
00:13:24,274 --> 00:13:26,543
processing these kalimbas.
215
00:13:29,746 --> 00:13:32,416
It's a simple African
instrument.
216
00:13:32,449 --> 00:13:34,684
The next week
we'll be here quite a bit.
217
00:13:34,718 --> 00:13:36,553
I'm pretty relaxed about it.
218
00:13:36,586 --> 00:13:39,156
Buck's not.
219
00:13:39,188 --> 00:13:41,157
There's a lot of work to do.
220
00:13:49,765 --> 00:13:51,500
That's the kalimba
you hear.
221
00:13:51,534 --> 00:13:54,637
He's following a mystery
to find out what's happened.
222
00:13:54,670 --> 00:13:58,074
The music needs to have
a bit of intrigue.
223
00:14:23,798 --> 00:14:26,201
I think we cracked the puzzle
on this pretty quick.
224
00:14:30,438 --> 00:14:33,175
As film grew up,
in terms of the subject
225
00:14:33,208 --> 00:14:35,310
that they were tackling
and what the filmmakers
226
00:14:35,343 --> 00:14:39,081
themselves were seeking,
film music itself changed.
227
00:14:39,114 --> 00:14:42,650
It became more modern in style.
It embraced jazz.
228
00:14:47,322 --> 00:14:50,792
"A streetcar named desire" was
Alex North's first film score.
229
00:14:50,825 --> 00:14:54,396
And he comes in with a history
of having written ballets
230
00:14:54,429 --> 00:14:56,198
and concert works
in New York
231
00:14:56,231 --> 00:14:58,133
and tackles his first film
assignment,
232
00:14:58,166 --> 00:15:01,669
and writes the most
revolutionary score of all time.
233
00:15:09,876 --> 00:15:12,813
The first film score
incorporating jazz
234
00:15:12,846 --> 00:15:14,415
in the writing structure.
235
00:15:16,417 --> 00:15:18,752
Jerry Goldsmith said when he heard
the score for the first time,
236
00:15:18,785 --> 00:15:20,087
he knew that film music
had changed
237
00:15:20,121 --> 00:15:21,655
and would never be the same.
238
00:15:27,861 --> 00:15:31,265
Bond. James Bond.
239
00:15:31,298 --> 00:15:35,269
John Barry came from
his own band,
240
00:15:37,238 --> 00:15:41,642
performing music that sounded
like early James Bond music.
241
00:15:47,580 --> 00:15:49,149
By the time he wrote
James Bond music,
242
00:15:49,182 --> 00:15:54,654
he was bringing a band
sensibility to movies.
243
00:16:07,733 --> 00:16:10,503
Thing about big band music,
it was cool.
244
00:16:10,536 --> 00:16:12,138
And it swung.
245
00:16:14,507 --> 00:16:16,676
Felt like this was a guy
who could do anything.
246
00:16:18,878 --> 00:16:24,850
You will not hear any film, which is
to do with spying or secret services
247
00:16:24,884 --> 00:16:26,419
without
a reference to bond.
248
00:16:26,452 --> 00:16:29,188
I mean, it's become
the thing to go to,
249
00:16:29,221 --> 00:16:31,790
in the same way that Morricone
was for spaghetti westerns.
250
00:16:44,269 --> 00:16:45,770
Ennio Morricone.
251
00:16:45,804 --> 00:16:47,406
He's not going
to hit you with music
252
00:16:47,439 --> 00:16:49,174
that makes you go,
"whoa, what is that instrument?
253
00:16:49,208 --> 00:16:50,909
Whoa, how did he make
that sound?"
254
00:16:50,942 --> 00:16:54,546
But what he will do is
just kill you with a melody.
255
00:17:06,258 --> 00:17:07,426
"The good, the bad
and the ugly"
256
00:17:07,459 --> 00:17:10,261
is such an iconic piece
of music.
257
00:17:10,294 --> 00:17:13,564
You know, he just took
that sound of the guitar
258
00:17:13,597 --> 00:17:16,634
and just put it into
that western environment.
259
00:17:28,312 --> 00:17:31,649
That is the sound of,
you know, spaghetti westerns,
260
00:17:31,682 --> 00:17:33,584
still, 50, 60 years
after the fact.
261
00:17:33,617 --> 00:17:34,952
And I think that's quite
an achievement.
262
00:17:34,985 --> 00:17:38,356
By the 1960s,
you had this great period,
263
00:17:38,389 --> 00:17:43,294
where you had incredibly
well-trained musicians.
264
00:17:45,629 --> 00:17:48,299
Bernard Herrmann had come out
of dramatic radio.
265
00:17:48,332 --> 00:17:52,769
And his ability
to take a sound,
266
00:17:52,802 --> 00:17:57,707
and create a specific kind
of unique orchestra
267
00:17:57,740 --> 00:18:01,811
that was specific to each film
was groundbreaking.
268
00:18:07,950 --> 00:18:10,320
the main title from vertigo,
269
00:18:10,353 --> 00:18:15,692
that is the textbook
perfect example
270
00:18:15,725 --> 00:18:21,931
of the score that says "mystery,
something's not right here.
271
00:18:21,964 --> 00:18:26,903
Stay away, but please come.
Come running".
272
00:18:28,938 --> 00:18:31,708
That was different than other
writers at the time.
273
00:18:31,741 --> 00:18:36,745
These are not melodic ideas.
These are little phrases
274
00:18:36,778 --> 00:18:40,916
that had circular
madness to them,
275
00:18:40,949 --> 00:18:45,987
that worked really well
in Alfred Hitchcock movies.
276
00:18:46,021 --> 00:18:51,727
It felt like everything's
driving forward in a sick,
277
00:18:51,760 --> 00:18:54,396
inevitably disastrous way.
278
00:18:56,532 --> 00:18:58,734
Bernard Herrmann,
he had balls.
279
00:18:58,767 --> 00:19:02,003
So just to do what he did with
"psycho" in the shower scene.
280
00:19:15,916 --> 00:19:18,953
Without the music,
it's not that scary.
281
00:19:20,621 --> 00:19:23,358
You notice the cuts,
you notice the process.
282
00:19:23,391 --> 00:19:24,659
As soon as you put
the music there...
283
00:19:31,732 --> 00:19:37,472
You're stuck in the mindset
of this psychotic killer.
284
00:19:37,505 --> 00:19:39,006
Outside of the context
of that movie,
285
00:19:39,039 --> 00:19:40,675
people probably just wonder,
286
00:19:40,708 --> 00:19:42,042
"what the hell is the noise?
Turn it off".
287
00:19:43,944 --> 00:19:46,046
But it was so effective
in that moment.
288
00:19:46,080 --> 00:19:49,617
It really tricked you into
believing you saw way more
289
00:19:49,650 --> 00:19:52,520
of the violent act in
that scene than really occurred.
290
00:19:59,659 --> 00:20:01,861
When you read a book,
and it says
291
00:20:01,895 --> 00:20:06,332
"there is this great forest,"
everybody pictures a forest.
292
00:20:08,101 --> 00:20:10,770
None of these forests
will be the same.
293
00:20:18,177 --> 00:20:20,013
It's exactly the same
with music.
294
00:20:23,450 --> 00:20:26,686
You can ask 15 other composers
to read that same script,
295
00:20:26,720 --> 00:20:28,522
they will all have different
musical ideas.
296
00:20:30,724 --> 00:20:33,893
One of the things that I find
so liberating about film music
297
00:20:33,927 --> 00:20:36,830
is the fact
that any instrument is valid,
298
00:20:36,863 --> 00:20:39,932
as long as it makes
the movie better.
299
00:20:39,965 --> 00:20:43,101
I have about five
storage areas
300
00:20:43,135 --> 00:20:45,003
that are all filled
with musical equipment.
301
00:20:45,037 --> 00:20:47,172
At a certain point,
I collect enough stuff
302
00:20:47,205 --> 00:20:49,442
that when it starts to look
like a junk store,
303
00:20:49,475 --> 00:20:53,111
then the people here do an
intervention and they take everything.
304
00:20:53,145 --> 00:20:57,650
They scrape it clean, and I just
start over collecting things again.
305
00:21:00,753 --> 00:21:02,421
It was a piano
something like that.
306
00:21:02,455 --> 00:21:04,757
I bought it at a toy store
at the Beverly Center,
307
00:21:04,790 --> 00:21:07,426
and I played the theme song
for "Rugrats,"
308
00:21:07,460 --> 00:21:10,629
because I thought I'd never need
to play the toy piano again.
309
00:21:10,663 --> 00:21:12,931
It was like $60 bucks.
I thought, "what a lot of money
310
00:21:12,965 --> 00:21:14,533
to spend on a toy piano".
311
00:21:19,037 --> 00:21:22,674
So I bought it, brought it
to my studio, and recorded it.
312
00:21:22,707 --> 00:21:24,542
Then I took it back
and got my money back.
313
00:21:24,576 --> 00:21:27,945
And now I always wonder,
where is that toy piano
314
00:21:27,979 --> 00:21:30,848
that I wrote the theme song
for "Rugrats" on?
315
00:21:30,882 --> 00:21:36,020
Many times I start the cue from playing
other things, not the computer.
316
00:21:46,864 --> 00:21:50,802
These are tuned sleigh bells.
They're very rare.
317
00:21:54,872 --> 00:21:57,208
There's music in everything.
I'll be taking an elevator.
318
00:21:57,241 --> 00:21:58,876
You'll be in the thing
and then all of a sudden
319
00:21:58,910 --> 00:22:01,112
the door will be like.
320
00:22:01,145 --> 00:22:02,879
And you're just like,
"what was that, man?
321
00:22:02,913 --> 00:22:05,048
That was cool, you know?"
And you come back to the studio
322
00:22:05,081 --> 00:22:06,783
and try to recreate that sound.
323
00:22:06,817 --> 00:22:08,952
What would that sound
like in musical form?
324
00:22:08,985 --> 00:22:13,590
So I'm always trying to distill what
the world sounds like into music.
325
00:22:31,174 --> 00:22:33,944
There is no such thing as
the wrong way to do something.
326
00:22:33,977 --> 00:22:36,112
You just got to keep trying,
and the wrong way
327
00:22:36,146 --> 00:22:38,148
is the wrong way,
until it's the right way.
328
00:22:38,181 --> 00:22:41,084
It's a bit of a dinosaur
in that it went extinct
329
00:22:41,117 --> 00:22:44,587
and gave birth to the violin,
and the guitar,
330
00:22:44,620 --> 00:22:46,589
and a lot of other things. The
construction's pretty simple.
331
00:22:46,622 --> 00:22:50,560
You have two drones, and in
this case, one melodic string.
332
00:23:08,043 --> 00:23:10,245
It's kind of suggestive
looking, at least.
333
00:23:17,019 --> 00:23:20,122
They sound kind of like when
a seal plays musical horns
334
00:23:20,155 --> 00:23:21,523
in a circus or something.
335
00:23:54,155 --> 00:23:56,658
I haven't played
that for years.
336
00:23:56,691 --> 00:24:00,995
Now that I've got the groove,
I can imagine
337
00:24:01,029 --> 00:24:04,833
like what could be
a melody on top, right?
338
00:24:34,695 --> 00:24:36,363
It's a paradise.
339
00:24:43,737 --> 00:24:47,675
I try to find a general
rhythm in a scene.
340
00:24:50,242 --> 00:24:54,847
"Mad Max," I spent at least seven
months producing the score.
341
00:24:56,015 --> 00:24:58,084
Trying this, trying that.
342
00:24:58,117 --> 00:24:59,819
Different types of drums.
343
00:25:08,427 --> 00:25:10,362
The drums that were
uniquely recorded
344
00:25:10,396 --> 00:25:12,899
for "mad Max"
just playing one.
345
00:25:19,271 --> 00:25:23,710
If you combine all these
multiple tracks together,
346
00:25:23,743 --> 00:25:28,047
then you can get a really,
really interesting quality
347
00:25:28,080 --> 00:25:30,416
of these drums
playing together
348
00:25:30,449 --> 00:25:33,384
and they're pretty aggressive,
which I'm a big fan of.
349
00:25:51,737 --> 00:25:53,271
That actually makes, you know,
quite a difference.
350
00:25:53,304 --> 00:25:55,306
Some directors
want the music
351
00:25:55,340 --> 00:25:57,108
to constantly
hit the shots.
352
00:25:57,142 --> 00:26:00,411
Other directors want really
long pieces of music
353
00:26:00,445 --> 00:26:03,849
that go over multiple,
multiple shots at the same time.
354
00:26:09,054 --> 00:26:11,056
These are things that you
constantly struggle with
355
00:26:11,089 --> 00:26:13,858
when you work to picture.
356
00:26:20,364 --> 00:26:23,233
I don't care what music it is,
but if I make a track,
357
00:26:23,267 --> 00:26:25,369
it has to give me
goosebumps, myself.
358
00:26:25,402 --> 00:26:27,071
I don't say that
to be arrogant,
359
00:26:27,104 --> 00:26:29,173
but if it doesn't hit me
in the stomach
360
00:26:29,206 --> 00:26:30,908
as being
a great piece of music,
361
00:26:30,941 --> 00:26:34,211
I cannot expect the audience,
anybody out there,
362
00:26:34,244 --> 00:26:36,113
to have the feeling
that it hits the stomach.
363
00:26:36,146 --> 00:26:38,215
If it gives me goosebumps,
it's pretty likely
364
00:26:38,248 --> 00:26:40,217
it'll give someone else
goosebumps,
365
00:26:40,250 --> 00:26:43,921
because I think goosebumps come
for everyone from similar places.
366
00:26:43,954 --> 00:26:45,990
When we're looking
at emotion,
367
00:26:46,023 --> 00:26:49,960
and other kinds
of responses to music,
368
00:26:49,994 --> 00:26:52,462
there are many structures
in the brain that are involved.
369
00:26:52,496 --> 00:26:57,233
Music is so multifaceted,
it's so multidimensional.
370
00:26:57,266 --> 00:26:59,769
Different aspects of music
are processed
371
00:26:59,803 --> 00:27:01,437
by different systems
in the brain.
372
00:27:01,470 --> 00:27:02,939
So when you're looking
at something,
373
00:27:02,972 --> 00:27:04,841
like melody and pitch,
374
00:27:04,874 --> 00:27:07,977
that's processed
by one system in the brain.
375
00:27:08,011 --> 00:27:12,015
When you're looking at the time-based
aspects like tempo and rhythm,
376
00:27:12,048 --> 00:27:15,084
that's processed
by another system.
377
00:27:15,118 --> 00:27:19,222
We are having some sort
of a physiological response
378
00:27:19,255 --> 00:27:21,457
that the body is showing,
and the goosebumps
379
00:27:21,490 --> 00:27:26,229
is actually just a sign of what's
happening inside your body.
380
00:27:26,262 --> 00:27:29,465
There's a system in the brain,
ventral striatum
381
00:27:29,498 --> 00:27:31,167
and nucleus accumbens,
in particular,
382
00:27:31,200 --> 00:27:32,869
it's our reward center.
383
00:27:32,902 --> 00:27:36,973
Things like chocolate or sex,
these are reactions
384
00:27:37,006 --> 00:27:39,507
that we can see
involve these structures.
385
00:27:39,541 --> 00:27:44,212
So it's interesting because the
same kinds of pleasurable feelings
386
00:27:44,246 --> 00:27:48,050
we get from chocolate,
dopamine release,
387
00:27:48,083 --> 00:27:53,088
we could see some of the same kind of
activations in the brain to music.
388
00:27:53,121 --> 00:27:56,458
It's the one art form
that technically doesn't exist.
389
00:27:56,491 --> 00:27:59,127
You can touch musical
instruments,
390
00:27:59,161 --> 00:28:04,532
you can touch cds or cassettes
or vinyl that contain the music,
391
00:28:04,566 --> 00:28:07,569
but you can never actually
put your finger on music.
392
00:28:07,602 --> 00:28:10,472
It's just air moving
a little bit differently.
393
00:28:10,505 --> 00:28:15,043
All music is doing is providing some
structure to these air molecules.
394
00:28:15,077 --> 00:28:17,980
So if a truck goes by,
395
00:28:18,013 --> 00:28:21,916
it's pushing air molecules
against our inner ear.
396
00:28:21,949 --> 00:28:24,018
If someone's playing cello,
397
00:28:24,051 --> 00:28:26,854
it's pushing the exact same
air molecules against our ear,
398
00:28:26,888 --> 00:28:29,190
just in a different,
structured way.
399
00:28:29,223 --> 00:28:31,425
And there's something odd
400
00:28:31,458 --> 00:28:33,494
but really, really interesting
and powerful about that.
401
00:28:33,527 --> 00:28:37,932
But they'll never take
our freedom!
402
00:28:37,965 --> 00:28:40,534
It makes armies march
into battle.
403
00:28:42,403 --> 00:28:44,371
It makes people cry.
404
00:28:48,142 --> 00:28:51,545
It can really increase
the overall emotion
405
00:28:51,578 --> 00:28:55,116
in a way that will make
a movie stay with its audience
406
00:28:55,149 --> 00:28:57,384
long after the last
frame of film.
407
00:28:57,418 --> 00:28:58,953
We are doing something here.
408
00:28:58,986 --> 00:29:01,988
We're harnessing something
from the ether.
409
00:29:02,022 --> 00:29:06,092
Film music, and orchestral
music in general,
410
00:29:06,126 --> 00:29:08,661
is of great interest
to neuroscientists
411
00:29:08,694 --> 00:29:13,099
and to scientists because of
its great power to emote.
412
00:29:13,133 --> 00:29:15,168
Film music is usually
something that
413
00:29:15,201 --> 00:29:18,004
we're not paying conscious
attention to,
414
00:29:18,038 --> 00:29:20,974
and yet it has such
a powerful impact on us.
415
00:29:21,007 --> 00:29:23,309
"Remember the Titans,"
the music for me
416
00:29:23,343 --> 00:29:26,913
was written
so specifically for that.
417
00:29:29,215 --> 00:29:31,384
It's very interesting about
using music in film,
418
00:29:31,417 --> 00:29:36,289
it's providing a very specific
context for the music.
419
00:29:36,322 --> 00:29:39,392
There is a permanent linkage,
so when you hear it again,
420
00:29:39,425 --> 00:29:41,561
the experiences you had
in the theatre are evoked.
421
00:29:41,594 --> 00:29:44,663
I never even thought about whether
it could be used elsewhere.
422
00:29:44,696 --> 00:29:47,232
Thank you.
God bless you
423
00:29:47,266 --> 00:29:51,103
and may god bless
the United States of America.
424
00:29:54,539 --> 00:29:56,341
The phone rang.
425
00:29:56,375 --> 00:30:00,012
A friend of mine said,
"I'm at the convention.
426
00:30:00,045 --> 00:30:05,050
'Remember the Titans' is playing
as loud as a Kiss concert".
427
00:30:08,653 --> 00:30:10,655
I wasn't asked,
which I'm not happy about,
428
00:30:10,689 --> 00:30:14,960
but, it's quite interesting
watching it being used
429
00:30:14,994 --> 00:30:18,130
for something completely
different.
430
00:30:18,163 --> 00:30:21,400
We live in a world that
things are underscored.
431
00:30:21,433 --> 00:30:25,204
It's actually interesting
how the music
432
00:30:25,236 --> 00:30:30,274
of "Remember the Titans"
evokes what Obama wanted
433
00:30:30,308 --> 00:30:34,445
to be as the man walking out
as the new president.
434
00:30:36,414 --> 00:30:40,518
Whatever the audience
felt in the theatre,
435
00:30:40,551 --> 00:30:42,753
it was resonant again.
436
00:30:42,786 --> 00:30:46,157
The power of the score
in and of itself is amazing.
437
00:30:48,326 --> 00:30:50,761
When we're watching
a 90-minute standard film,
438
00:30:50,794 --> 00:30:54,332
we make about 21,000 or more
eye movements.
439
00:30:54,365 --> 00:30:58,169
And even though we feel
like we have full control
440
00:30:58,202 --> 00:31:01,339
and freedom of where to look,
many studies on eye tracking
441
00:31:01,372 --> 00:31:04,342
have shown that actually
a film audience
442
00:31:04,375 --> 00:31:07,144
is usually looking at about
the same place on a screen
443
00:31:07,177 --> 00:31:09,179
at about the same time.
444
00:31:09,212 --> 00:31:12,749
One way that the eye can be
directed to a specific spot
445
00:31:12,782 --> 00:31:16,653
on the screen is when there's
something about the music
446
00:31:16,686 --> 00:31:19,589
that matches some characteristic
on the screen.
447
00:31:19,622 --> 00:31:23,493
For example, a rising pitch
with something that is rising.
448
00:31:26,196 --> 00:31:28,265
And a great example
of this comes from
449
00:31:28,298 --> 00:31:32,335
the "married life" montage
from the film, "Up".
450
00:31:32,369 --> 00:31:35,405
the first time
that we see the balloons
451
00:31:35,438 --> 00:31:37,707
that are tied
to Carl's cart,
452
00:31:37,740 --> 00:31:40,543
that's really important
because the balloons are going
453
00:31:40,577 --> 00:31:43,146
to be an important
visual motif,
454
00:31:43,180 --> 00:31:47,217
an important theme
for the entire film.
455
00:31:47,250 --> 00:31:53,122
We see Carl, and then we see
Ellie walking out with a parrot.
456
00:31:53,155 --> 00:31:57,226
And then the balloon cart
rises and comes back down.
457
00:31:57,259 --> 00:31:59,095
So it's very
interesting to see
458
00:31:59,128 --> 00:32:03,632
that music can be part of
the choreography of the dance
459
00:32:03,665 --> 00:32:06,768
of our eye movements
during a film sequence.
460
00:32:06,802 --> 00:32:08,704
It used to be
representative scoring,
461
00:32:08,737 --> 00:32:10,506
where everything you see,
you hear.
462
00:32:10,539 --> 00:32:14,176
Walk up the steps.
463
00:32:14,210 --> 00:32:16,478
Romantic kiss.
464
00:32:16,512 --> 00:32:18,714
The eye's doing the same thing
the ear's doing.
465
00:32:18,747 --> 00:32:21,250
There's so many decisions
to make in movies.
466
00:32:21,283 --> 00:32:24,853
Hollywood was going through
an odd transition in the '60s,
467
00:32:24,886 --> 00:32:28,190
especially the mid-'60s
to the early '70s.
468
00:32:28,224 --> 00:32:29,725
One of the things that got
thrown out was the idea
469
00:32:29,758 --> 00:32:32,127
of the old-fashioned
orchestral score.
470
00:32:35,230 --> 00:32:37,198
now there was a movement
toward source music.
471
00:32:39,400 --> 00:32:40,668
folk music...
472
00:32:45,440 --> 00:32:48,309
Intimate types
of musical groupings...
473
00:32:53,648 --> 00:32:55,316
it was just different.
The '60s were a lot
474
00:32:55,350 --> 00:32:58,619
of composers who really knew
what they were doing,
475
00:32:58,653 --> 00:33:00,821
who didn't want to do
it the old way.
476
00:33:05,726 --> 00:33:10,731
Jerry Goldsmith was absolutely
the most innovative composer
477
00:33:10,765 --> 00:33:14,168
to work on mainstream movies
on a regular basis.
478
00:33:14,201 --> 00:33:16,336
What's amazing
about "Planet of the apes"
479
00:33:16,370 --> 00:33:19,673
is he's using all
these modern techniques.
480
00:33:19,706 --> 00:33:23,310
He reapplied it
and put it into drama.
481
00:33:27,581 --> 00:33:32,186
Metal mixing bowls and rubber
balls being bounced into a bowl.
482
00:33:41,428 --> 00:33:44,298
Just kind of screwing with
the orchestra the way he did
483
00:33:44,331 --> 00:33:46,933
and just being so ballsy
in his choices
484
00:33:46,966 --> 00:33:49,736
and it being so on point
for that movie.
485
00:33:49,769 --> 00:33:51,638
It'll always be
one of the all-time great
486
00:33:51,671 --> 00:33:52,939
science fiction scores.
487
00:33:57,476 --> 00:34:00,779
"Chinatown" was written
in 10 days after
488
00:34:00,813 --> 00:34:04,183
an earlier score had been written,
recorded, and thrown out.
489
00:34:04,217 --> 00:34:06,219
And it's very interesting
that Jerry comes in
490
00:34:06,252 --> 00:34:08,187
and he looks at the film,
491
00:34:08,221 --> 00:34:14,227
and he immediately decides he
needs four harps, four pianos,
492
00:34:14,260 --> 00:34:16,795
strings, percussion,
and a solo trumpet.
493
00:34:28,474 --> 00:34:30,976
Why four pianos?
494
00:34:31,009 --> 00:34:36,649
I mean, Jerry was just sort of the
godfather of all this, wasn't he?
495
00:34:36,682 --> 00:34:40,652
It's such an interesting musical
choice, but that's Jerry.
496
00:34:40,685 --> 00:34:43,655
You ask musicians, they might
think he is the best ever.
497
00:34:51,629 --> 00:34:53,731
When I heard "the reivers,"
I said, "my god, this guy
498
00:34:53,765 --> 00:34:56,801
- must be 80 years old.
- " I really thought... -Nearly!
499
00:34:56,834 --> 00:34:58,736
I thought maybe here's
some guy who's 80 years old
500
00:34:58,770 --> 00:35:01,439
who maybe wrote his greatest
scores of his life.
501
00:35:01,473 --> 00:35:03,308
And I wanted to find out
who this guy was,
502
00:35:03,341 --> 00:35:05,677
and I met this young man named
John Williams and I was amazed.
503
00:35:05,710 --> 00:35:08,480
John Williams did not start
as a classical composer,
504
00:35:08,513 --> 00:35:10,515
he started as a jazz pianist.
505
00:35:10,548 --> 00:35:12,484
John Williams played piano
on "West Side story".
506
00:35:16,954 --> 00:35:19,290
And he played piano
on "the apartment".
507
00:35:22,526 --> 00:35:24,461
Born and bred
in the Fox system,
508
00:35:24,495 --> 00:35:26,697
him and Jerry Goldsmith,
that's where they learned.
509
00:35:26,730 --> 00:35:30,267
Nobody knew that the whole
field would change.
510
00:35:40,911 --> 00:35:42,379
When we saw "Jaws,"
511
00:35:42,413 --> 00:35:45,316
if it didn't have
that "ba-domp ba-domp",
512
00:35:45,349 --> 00:35:46,917
none of us would have known
what was happening.
513
00:35:56,026 --> 00:35:57,961
it was pretty brilliant.
514
00:35:57,994 --> 00:36:02,365
And it was almost like
a crazy experiment.
515
00:36:03,999 --> 00:36:07,803
He was an engine, "ba-dum,
ba-dum," accelerating.
516
00:36:07,837 --> 00:36:09,905
Ba-dum. Ba-dum. Ba-dum.
517
00:36:09,939 --> 00:36:13,876
Like a train moving forward,
this is an eating machine.
518
00:36:13,909 --> 00:36:18,381
He is as simple as
"I move forward to kill".
519
00:36:20,916 --> 00:36:23,919
That shark didn't need more.
He needed two notes.
520
00:36:23,953 --> 00:36:25,588
The first day with
Steven, he said,
521
00:36:25,621 --> 00:36:26,822
"what are you going
to play for Jaws?" I went...
522
00:36:31,527 --> 00:36:32,495
He said, "you're kidding".
523
00:36:33,996 --> 00:36:35,931
I said, "you're crazy,
this is a serious movie!"
524
00:36:35,965 --> 00:36:38,634
I thought he was going to say,
"no, I'm only kidding".
525
00:36:38,668 --> 00:36:41,871
And he was about to play this
very poetic pastoral symphony.
526
00:36:41,904 --> 00:36:45,440
And John said, "no, no, you've
made a very primal movie".
527
00:36:51,980 --> 00:36:53,114
Part of the genius
of John Williams
528
00:36:53,147 --> 00:36:55,016
is how he spots music
529
00:36:55,049 --> 00:36:57,819
and how he
places music in a movie.
530
00:36:57,852 --> 00:37:01,556
John did not want music
to celebrate a red herring.
531
00:37:01,590 --> 00:37:04,993
He only wanted music to signal
the actual arrival of the shark.
532
00:37:05,026 --> 00:37:07,462
Everybody goes, "oh, 'Jaws',
it's just these two notes".
533
00:37:07,496 --> 00:37:12,934
It's not. There's this amazing
orchestral symphonic piece
534
00:37:12,967 --> 00:37:16,805
that takes place and it's just being
triggered by these two notes.
535
00:37:16,838 --> 00:37:20,909
Just artistic imagination
is phenomenal.
536
00:37:20,942 --> 00:37:22,110
We are not worthy.
537
00:37:22,143 --> 00:37:24,778
I said, "oh my god.
It's a rebirth.
538
00:37:24,812 --> 00:37:25,946
Film music is back,
it's alive!"
539
00:37:42,830 --> 00:37:47,435
"Star Wars" made such an incredible
splash when it came out.
540
00:37:47,468 --> 00:37:50,738
Everything about it was
so exciting and thrilling
541
00:37:50,771 --> 00:37:53,674
for an 11-year-old growing up
at that time.
542
00:37:53,707 --> 00:37:54,842
Here they come.
543
00:37:56,910 --> 00:37:59,780
And spoke to a whole
generation of people.
544
00:37:59,813 --> 00:38:02,182
I was, I think 12 when
that thing came out.
545
00:38:02,215 --> 00:38:06,553
So it had a massive
impact on my youth.
546
00:38:08,788 --> 00:38:11,758
We had the theme from "Star Wars"
locked in our head as a kid,
547
00:38:11,791 --> 00:38:14,427
as soon as we walked out
of that theatre.
548
00:38:21,801 --> 00:38:24,136
Musically, yes,
it is a symphonic score.
549
00:38:24,170 --> 00:38:27,474
But I mean, it's one of the greatest
scores probably ever written.
550
00:38:27,507 --> 00:38:30,677
It's impossible to think of "Star
Wars" without Williams' music.
551
00:38:39,719 --> 00:38:41,521
The score he did
helped the audience
552
00:38:41,554 --> 00:38:45,758
rediscover the classical
orchestral film score.
553
00:38:51,697 --> 00:38:54,132
Spielberg and Lucas
can lay claim to many things,
554
00:38:54,165 --> 00:38:57,168
and one of them is helping
to reintroduce audiences
555
00:38:57,202 --> 00:38:59,471
to that kind of
moviegoing experience.
556
00:39:01,673 --> 00:39:03,575
Star wars turned
this shit upside down.
557
00:39:05,877 --> 00:39:07,513
It was John Williams
that made me,
558
00:39:07,546 --> 00:39:09,681
first of all, realize
that film music could be
559
00:39:09,715 --> 00:39:14,085
of a quality and distinction
that is as great
560
00:39:14,119 --> 00:39:17,222
as any of the classical
composers I grew up with.
561
00:39:17,255 --> 00:39:20,058
There's the traditional
idea of good and bad,
562
00:39:20,091 --> 00:39:23,094
and how they were
exemplified in music.
563
00:39:23,128 --> 00:39:25,764
I like to always go
to "Star Wars,"
564
00:39:25,797 --> 00:39:30,668
because there's those beautiful
themes, John's main theme,
565
00:39:30,701 --> 00:39:32,903
and then there is
the love theme.
566
00:39:39,043 --> 00:39:40,845
But then there's
the Darth Vader theme.
567
00:39:53,290 --> 00:39:56,827
it's just so martial
and so broad
568
00:39:56,861 --> 00:39:58,796
that you go, "oh boy, there's
something not good here".
569
00:40:08,873 --> 00:40:11,208
the right score for the right
movie at the right time.
570
00:40:13,943 --> 00:40:18,314
That '70s era, that is absolutely
the era of John Williams.
571
00:40:22,351 --> 00:40:26,656
Without his music, Superman's
powers are greatly diminished.
572
00:40:28,191 --> 00:40:32,095
Believe me, if you try
to fly without that theme,
573
00:40:32,128 --> 00:40:35,899
you go nowhere.
One step, two steps and down.
574
00:40:39,703 --> 00:40:41,270
Everyone knows
the Superman theme,
575
00:40:41,304 --> 00:40:44,574
but the Krypton theme
that comes right before it...
576
00:40:46,209 --> 00:40:51,781
That overture, it's mysterious,
it's almost like avant-garde.
577
00:40:59,855 --> 00:41:05,093
That sets up this really tuneful
double-chorus melody.
578
00:41:05,127 --> 00:41:09,231
Almost makes it, to me,
10 times more the piece.
579
00:41:09,264 --> 00:41:13,068
So it's his way of surrounding
pieces with other pieces.
580
00:41:20,042 --> 00:41:22,711
Most of the world,
if you were to play the music
581
00:41:22,745 --> 00:41:25,681
from "Jaws," or "Star Wars,"
or "Raiders of the lost ark,"
582
00:41:25,714 --> 00:41:28,651
most folks would know
exactly what that was.
583
00:41:28,684 --> 00:41:30,018
"Raiders of the lost ark".
584
00:41:30,052 --> 00:41:33,822
If you hear the melody
without the rhythm,
585
00:41:33,856 --> 00:41:38,192
you can recognize it.
586
00:41:38,225 --> 00:41:41,729
But if you just to the rhythm,
587
00:41:41,763 --> 00:41:43,865
with no melody you recognize it
either way.
588
00:41:54,075 --> 00:41:57,078
Very simple
little sequence of notes.
589
00:41:57,111 --> 00:42:03,250
But I spend more time on those
little bits of musical grammar
590
00:42:03,284 --> 00:42:05,787
to get them just right
so that they seem inevitable.
591
00:42:09,190 --> 00:42:12,794
There's a hooky, tuneful,
well-orchestrated theme,
592
00:42:12,827 --> 00:42:15,997
but I think
that's only half of it.
593
00:42:16,030 --> 00:42:20,400
There's always the bravura part
of the John Williams composition.
594
00:42:20,433 --> 00:42:26,206
The first 8, 16, 32 bars. The great
"Raiders of the lost ark" theme.
595
00:42:26,239 --> 00:42:28,141
And then comes the b part.
596
00:42:34,414 --> 00:42:37,350
It's less well known,
but it's so beautifully crafted.
597
00:42:40,854 --> 00:42:43,757
I always think that's the part
he writes for himself.
598
00:42:43,790 --> 00:42:47,327
I think he's as brilliant
as people feel he is.
599
00:42:47,360 --> 00:42:52,032
And as popular as his music is,
he's even better than that.
600
00:43:05,177 --> 00:43:07,880
If it would be convenient
to go into the call.
601
00:43:09,348 --> 00:43:12,417
Yeah.
602
00:43:15,955 --> 00:43:17,256
I like that.
As a matter of fact,
603
00:43:17,289 --> 00:43:18,958
it seems like
a very natural transition.
604
00:43:22,227 --> 00:43:23,929
- Up or down?
- Up.
605
00:43:27,466 --> 00:43:30,903
Maybe once down.
606
00:43:30,936 --> 00:43:32,738
It could go down once
and then go up.
607
00:43:32,772 --> 00:43:34,974
What a score needs
to do has changed,
608
00:43:35,007 --> 00:43:37,276
because of how filmmaking
has changed.
609
00:43:37,309 --> 00:43:39,779
Let's take John Williams,
let's take the end of "E.T.".
610
00:43:43,848 --> 00:43:45,149
Where are we going?
611
00:43:45,183 --> 00:43:46,851
To the forest!
612
00:43:46,885 --> 00:43:50,221
It is just a wide open
space for music.
613
00:43:50,254 --> 00:43:51,823
Follow me!
614
00:43:56,494 --> 00:43:59,463
When was the last time
that somebody left a space
615
00:43:59,497 --> 00:44:02,901
that open and said, "I want
this to be a music moment
616
00:44:02,934 --> 00:44:05,436
where you just bring
that tune home".
617
00:44:21,085 --> 00:44:26,456
I'll be right here.
618
00:44:35,966 --> 00:44:37,100
Bye.
619
00:44:37,134 --> 00:44:40,403
We have this vast,
expansive music
620
00:44:40,437 --> 00:44:42,305
with the taking off
of the spaceship.
621
00:45:02,192 --> 00:45:04,962
John Williams,
Steven Spielberg decide
622
00:45:04,995 --> 00:45:07,830
that we're gonna go
from big music to,
623
00:45:07,864 --> 00:45:12,134
reminding us who is going
into that spaceship.
624
00:45:14,236 --> 00:45:18,941
We could look at what is happening
in the story as being very sad,
625
00:45:18,975 --> 00:45:20,809
these are farewells.
626
00:45:26,983 --> 00:45:30,853
And at the very end
we hear this coda,
627
00:45:30,887 --> 00:45:34,323
this fanfare
that's very triumphant.
628
00:45:49,470 --> 00:45:54,375
That is saying that we're looking
at this from Elliot's viewpoint.
629
00:45:54,409 --> 00:45:57,578
That it's not a loss,
but it's almost like saying,
630
00:45:57,612 --> 00:46:01,516
"mission accomplished.
We got E.T. Home".
631
00:46:08,356 --> 00:46:10,158
In the orchestra,
one of the things we love
632
00:46:10,191 --> 00:46:11,592
is the 10-minute break.
633
00:46:11,626 --> 00:46:15,396
But on tens, when you have been
inspired by the music,
634
00:46:15,430 --> 00:46:17,065
there's an electricity.
635
00:46:25,440 --> 00:46:27,108
On "Jurassic Park,"
636
00:46:27,142 --> 00:46:30,077
you could tell by the look
in your colleague's eyes
637
00:46:30,110 --> 00:46:32,246
that you were
not mistaken,
638
00:46:32,279 --> 00:46:36,150
that you had just played something that
was going to almost live eternally.
639
00:46:36,183 --> 00:46:39,186
Almost anything we do
with John Williams is...
640
00:46:39,219 --> 00:46:42,256
We know it's going
to be unbelievable.
641
00:46:42,289 --> 00:46:44,524
We always leave
the sessions like feeling,
642
00:46:44,558 --> 00:46:47,527
"why can't all
the sessions be like this?"
643
00:47:06,646 --> 00:47:08,983
A lot of the time
you'll pick a studio
644
00:47:09,016 --> 00:47:11,617
because it's appropriate to the sort
of sound that you want to make.
645
00:47:14,320 --> 00:47:18,191
It used to be a church,
obviously.
646
00:47:18,224 --> 00:47:20,960
It's a building that's been here
for a couple hundred years.
647
00:47:20,994 --> 00:47:26,299
You know, it's a church, and I suppose everyone
thinks that all churches are haunted somehow.
648
00:47:26,332 --> 00:47:31,704
We have had engineers who've been in
here who've just seen that happen.
649
00:47:31,737 --> 00:47:34,607
You know, chairs just
start spinning around.
650
00:47:37,043 --> 00:47:39,378
It would be a great way to
excuse yourself, wouldn't it?
651
00:47:39,412 --> 00:47:41,180
If you've made
a terrible mistake.
652
00:47:41,214 --> 00:47:43,382
"It was the ghost that did
that". But no, you know,
653
00:47:43,416 --> 00:47:47,320
all the terrible things that happen
here are always based on people.
654
00:47:47,353 --> 00:47:49,322
Usually me.
655
00:47:53,325 --> 00:47:56,561
I've sort of lived in this
building since about 1994.
656
00:47:56,594 --> 00:47:59,164
- Morning.
- Hi, David.
657
00:48:01,266 --> 00:48:05,737
It was pretty derelict when
George Martin in the late '80s
658
00:48:05,770 --> 00:48:08,340
sort of came upon it and decided
this would be the place
659
00:48:08,373 --> 00:48:10,508
to convert
into a studio.
660
00:48:13,711 --> 00:48:17,515
If you've ever been in a small room with
a gang of people and shouted a lot,
661
00:48:17,549 --> 00:48:20,018
it sort of chokes
the room out.
662
00:48:20,052 --> 00:48:21,519
You know, so you can't
really hear anything
663
00:48:21,553 --> 00:48:23,621
because the sound
has got nowhere to go
664
00:48:23,655 --> 00:48:25,657
so everything
piles in on itself?
665
00:48:25,690 --> 00:48:27,759
That's the same
in an acoustic space.
666
00:48:27,792 --> 00:48:30,762
If we have 110 people
in a room,
667
00:48:30,795 --> 00:48:33,098
we've got this
moveable roof panel.
668
00:48:33,131 --> 00:48:36,733
You lift the roof up and it gives you
an extra second and a half of reverb
669
00:48:36,767 --> 00:48:39,436
and so, you know, the sound
can sort of swim around
670
00:48:39,470 --> 00:48:42,773
this gorgeous space with all these
amazing reflective surfaces.
671
00:49:28,884 --> 00:49:31,421
We use up to 100 mics
on a session.
672
00:49:31,454 --> 00:49:35,091
That all gives you the choice
as to how close or how far away
673
00:49:35,125 --> 00:49:37,193
you want to feel
from the music.
674
00:49:37,227 --> 00:49:40,530
It's a very different
acoustic to Abbey road.
675
00:50:11,260 --> 00:50:13,128
86 players total today.
676
00:50:13,162 --> 00:50:14,896
So it's a good size
orchestra.
677
00:50:14,929 --> 00:50:16,765
We're here in Abbey road
studio number one,
678
00:50:16,798 --> 00:50:18,433
which is the big orchestral
room at Abbey road.
679
00:50:18,467 --> 00:50:19,734
Check, check,
one, two, three, test.
680
00:50:19,768 --> 00:50:22,171
Check,
one, two, three.
681
00:50:22,204 --> 00:50:25,574
There doesn't appear to be a great deal
of absorbent material on the walls,
682
00:50:25,607 --> 00:50:27,709
so it still has a bit
of a live sound to it.
683
00:50:27,742 --> 00:50:28,910
When the orchestra
cuts off
684
00:50:28,943 --> 00:50:31,280
you get a really
great bit of reverb.
685
00:50:38,420 --> 00:50:40,655
The Beatles recorded their
orchestral stuff in here,
686
00:50:40,689 --> 00:50:43,924
and then in the '80s it became
frequently used for film scores,
687
00:50:43,957 --> 00:50:46,694
so "Return of the jedi"
was mostly recorded here.
688
00:50:46,727 --> 00:50:49,163
Chorus people, thank you
for coming.
689
00:50:49,197 --> 00:50:52,200
Welcome to this process
of making "Star Wars".
690
00:50:52,233 --> 00:50:54,302
the "Star Wars" prequels
were recorded here.
691
00:50:54,335 --> 00:50:55,769
Just winds, please. 33.
692
00:50:55,803 --> 00:50:57,471
One, two, three.
693
00:51:04,778 --> 00:51:07,648
The first three "Lord of the
rings" movies were recorded here.
694
00:51:14,588 --> 00:51:17,191
I know when Williams
did like his films here,
695
00:51:17,225 --> 00:51:18,859
he tended to set up
over here
696
00:51:18,892 --> 00:51:21,795
and throw this way,
the long way.
697
00:51:21,829 --> 00:51:24,931
So that the choir from like "Duel of
the fates" was up against that wall.
698
00:51:40,680 --> 00:51:41,714
Our sound engineer
on this film,
699
00:51:41,748 --> 00:51:43,750
he asked for
this layout,
700
00:51:43,783 --> 00:51:46,753
because he prefers it in terms of
getting the sound that he wants.
701
00:51:55,328 --> 00:51:57,397
When you're
a film composer,
702
00:51:57,430 --> 00:52:00,367
part of the gig is you're giving
the director and the producers
703
00:52:00,400 --> 00:52:01,901
the music they want.
704
00:52:01,934 --> 00:52:03,703
But at the end of the day,
if they don't like it,
705
00:52:03,736 --> 00:52:05,604
it's not in the movie.
706
00:52:05,637 --> 00:52:08,407
My crew in the mixing room
consists of the engineer,
707
00:52:08,440 --> 00:52:10,909
who in this case is
a guy named Casey Stone.
708
00:52:10,942 --> 00:52:14,713
He's sitting behind the board and
he's operating all the faders.
709
00:52:18,350 --> 00:52:20,619
He's the one who set up all
the microphones in here,
710
00:52:20,652 --> 00:52:23,489
laid out the plan for how we
were going to record everything.
711
00:52:26,325 --> 00:52:28,894
Next to him is
a gentleman named Louis,
712
00:52:28,927 --> 00:52:31,397
and Louis is operating
the pro tools,
713
00:52:31,430 --> 00:52:34,600
so he's controlling the clicks
that I hear in my headphones,
714
00:52:34,633 --> 00:52:36,735
and that all the musicians
hear in their headphones.
715
00:52:47,378 --> 00:52:49,514
And then he's also
recording all the takes,
716
00:52:49,547 --> 00:52:51,749
making sure they're
all labeled correctly.
717
00:52:56,321 --> 00:52:57,988
There's a gentleman
named John Finklea,
718
00:52:58,022 --> 00:52:59,557
he's the music editor.
719
00:53:01,392 --> 00:53:03,794
He is the person who will
take all the takes
720
00:53:03,828 --> 00:53:06,764
and assemble not only the version
that we use in the film,
721
00:53:06,797 --> 00:53:10,368
but also the version that we end up
making the soundtrack album from.
722
00:53:20,345 --> 00:53:22,347
Next to him is
the orchestrator,
723
00:53:22,380 --> 00:53:24,749
who in this film
is Matt Dunkley.
724
00:53:24,782 --> 00:53:28,785
I do all my writing
in a computer.
725
00:53:28,818 --> 00:53:33,823
The orchestrator takes that file and
converts it into an orchestral score,
726
00:53:35,024 --> 00:53:36,893
a score that
I can conduct from,
727
00:53:39,729 --> 00:53:42,966
and from which parts can be generated
and given to all the musicians.
728
00:53:46,069 --> 00:53:47,904
And they don't have to see
all the other parts.
729
00:53:58,915 --> 00:54:02,652
Great. Really, really.
730
00:54:02,686 --> 00:54:04,888
Moving on?
731
00:54:04,921 --> 00:54:07,557
Yeah. Ready?
732
00:54:07,591 --> 00:54:11,894
Different cities, different
influences, different rooms.
733
00:54:11,927 --> 00:54:15,063
In London, usually they play
with a gentle sound.
734
00:54:19,935 --> 00:54:22,505
In Los Angeles, they play
with a stronger sound.
735
00:54:27,643 --> 00:54:29,445
I do work very hard.
736
00:54:29,478 --> 00:54:33,582
You know, and I have a team
that also works hard with me.
737
00:54:35,150 --> 00:54:37,720
It takes a lot
to get to this point.
738
00:54:45,160 --> 00:54:48,931
It really is like
your life story,
739
00:54:48,964 --> 00:54:53,000
using the picture
as a vehicle
740
00:54:53,034 --> 00:54:55,837
to show the human
that you are.
741
00:55:12,119 --> 00:55:14,188
That was amazing.
742
00:55:14,221 --> 00:55:19,126
Conducting a score is something
that everybody used to do.
743
00:55:19,160 --> 00:55:22,096
It's not so much that the
composer doesn't have the chops
744
00:55:22,129 --> 00:55:24,599
to go out there and conduct
an orchestra, many of them do.
745
00:55:24,632 --> 00:55:28,603
But it's often more important
for them to be in the booth,
746
00:55:28,636 --> 00:55:31,205
listening to what
the orchestra is playing,
747
00:55:31,238 --> 00:55:33,174
and sitting right there
with the director
748
00:55:33,207 --> 00:55:37,210
to know how the director's
feeling about what he's hearing.
749
00:55:43,149 --> 00:55:44,518
Let it play.
750
00:55:52,125 --> 00:55:55,128
If you speak to John Powell,
or Hans Zimmer,
751
00:55:55,161 --> 00:55:58,765
they'll say they prefer to be in
the control room, not conducting,
752
00:55:58,799 --> 00:56:01,568
because that's where everything's fed
through, they have more control.
753
00:56:01,602 --> 00:56:03,504
I mean, basically, we're
all going after the same thing.
754
00:56:03,537 --> 00:56:04,838
We want
the best result,
755
00:56:04,871 --> 00:56:08,709
the best performance
for the film.
756
00:56:08,742 --> 00:56:10,977
A lot of composers
like to be in the booth,
757
00:56:11,011 --> 00:56:13,980
so that they can be
closer to the director.
758
00:56:14,014 --> 00:56:16,682
But I personally feel I get
the best performance
759
00:56:16,716 --> 00:56:19,952
when I'm conducting
my own music.
760
00:56:19,985 --> 00:56:21,887
Good morning!
761
00:56:21,921 --> 00:56:24,757
This is a film for Paramount.
It's lots of fun.
762
00:56:24,790 --> 00:56:27,727
John has done a great,
oh my god, what a score.
763
00:56:27,760 --> 00:56:31,531
So without further ado,
our composer and conductor,
764
00:56:31,564 --> 00:56:32,598
John debney.
765
00:56:36,235 --> 00:56:37,703
Good morning.
766
00:56:37,737 --> 00:56:42,041
We're gonna start out
with 5m1v3.
767
00:56:42,074 --> 00:56:44,677
Let's make some sound.
768
00:56:44,710 --> 00:56:47,747
One, two. Two.
769
00:57:36,828 --> 00:57:38,697
Good read.
Good read.
770
00:57:38,730 --> 00:57:41,765
Sight-reading musicians,
the studio musicians,
771
00:57:41,799 --> 00:57:43,333
really are
an incredible breed.
772
00:57:43,366 --> 00:57:45,603
Producers or filmmakers,
they say,
773
00:57:45,636 --> 00:57:48,038
"Well, how many days do they
have to rehearse this?"
774
00:57:48,071 --> 00:57:51,942
And I say, "none. That was it.
They never saw it before".
775
00:57:51,975 --> 00:57:54,612
And they go,
"What? What?"
776
00:57:54,645 --> 00:57:57,247
There's a technique
to being able to sight-read,
777
00:57:57,280 --> 00:58:00,050
to being able to congeal
as a section,
778
00:58:00,083 --> 00:58:02,052
as a studio
sight-reading orchestra.
779
00:58:02,085 --> 00:58:04,254
24, we are faster
right away.
780
00:58:04,287 --> 00:58:05,823
When you're writing music,
781
00:58:05,856 --> 00:58:08,091
you're writing a letter
to the performers.
782
00:58:08,125 --> 00:58:11,629
You're giving them a set of instructions
on what they're supposed to do.
783
00:58:11,662 --> 00:58:13,831
And if you do it right,
then it should be a love letter.
784
00:58:13,864 --> 00:58:15,699
And it... you should
show again,
785
00:58:15,733 --> 00:58:18,636
"I know your instrument.
I know who you are".
786
00:58:18,669 --> 00:58:22,772
You have many, many players
trying to play the same note,
787
00:58:22,805 --> 00:58:24,240
but no one can.
788
00:58:24,273 --> 00:58:27,877
Everyone is off by microns
of a percentage,
789
00:58:27,910 --> 00:58:30,813
which gives it
that chorusing effect.
790
00:58:33,683 --> 00:58:37,654
If everything was
consonant and perfect,
791
00:58:37,687 --> 00:58:41,858
Music would...
It would be terrible.
792
00:58:41,891 --> 00:58:45,795
I mean, it would be like putting
auto-tune on Etta James.
793
00:58:45,828 --> 00:58:49,732
You know, it just would
take all the soul out of it.
794
00:58:49,766 --> 00:58:52,835
And honestly
that's why we have...
795
00:58:52,869 --> 00:58:54,170
Why orchestras
sound beautiful.
796
00:58:54,203 --> 00:58:55,872
If there's ever a time
797
00:58:55,905 --> 00:58:58,207
where I'm not able
to get on a scoring stage
798
00:58:58,240 --> 00:59:03,212
and work with 90 musicians,
I'll probably do something else.
799
00:59:04,946 --> 00:59:08,183
Working with the live musicians,
that's what I live for.
800
00:59:26,768 --> 00:59:28,303
Standing on the podium,
801
00:59:28,336 --> 00:59:31,272
and giving a downbeat
to a piece of music
802
00:59:31,306 --> 00:59:33,641
that you've spent
a long time crafting.
803
00:59:35,310 --> 00:59:37,312
And hearing it
for the first time,
804
00:59:37,345 --> 00:59:40,281
I guess it's like seeing your child
for the first time being born.
805
00:59:46,253 --> 00:59:51,826
The joy, the emotion
of what that is,
806
00:59:51,859 --> 00:59:53,994
it's really
everything to me.
807
00:59:59,233 --> 01:00:00,935
Pretty darn
good take.
808
01:00:00,968 --> 01:00:03,003
That's the real power
of the orchestra
809
01:00:03,037 --> 01:00:04,739
and I think
that's why...
810
01:00:04,772 --> 01:00:06,941
That's why I think
it'll never disappear.
811
01:00:06,974 --> 01:00:09,710
Certainly it's been transformed and
will continue to be transformed,
812
01:00:09,744 --> 01:00:11,879
but I think
at the heart, um...
813
01:00:11,912 --> 01:00:14,014
It's kinda the most
human element
814
01:00:14,048 --> 01:00:15,983
and the most emotional
element we have.
815
01:00:16,016 --> 01:00:18,218
Let's go from 20
to the end of 48.
816
01:00:18,252 --> 01:00:19,987
This film has
a lot of music.
817
01:00:20,020 --> 01:00:22,489
It's an action film,
it's a tentpole movie,
818
01:00:22,522 --> 01:00:25,292
so they tend to be more
wall-to-wall.
819
01:00:25,325 --> 01:00:27,961
You know, "Jack Reacher"
had about 60 minutes of music.
820
01:00:27,994 --> 01:00:29,963
This has about 110.
821
01:00:29,996 --> 01:00:31,798
You do see the billboards up
822
01:00:31,831 --> 01:00:34,267
before you're finished
doing the film.
823
01:00:34,300 --> 01:00:35,935
You drive
past it thinking,
824
01:00:35,969 --> 01:00:38,371
"but the music's
not written yet".
825
01:00:38,404 --> 01:00:42,375
the scary thing is going down
to the subway in New York
826
01:00:42,408 --> 01:00:45,879
and I'm halfway done and seeing
your name on the poster,
827
01:00:45,912 --> 01:00:47,914
and saying, "oh god,"
you know,
828
01:00:47,947 --> 01:00:52,285
it's... i have a long way to
go in two and a half weeks".
829
01:00:52,318 --> 01:00:55,254
the more expensive
the movies get,
830
01:00:55,288 --> 01:00:56,756
they do let you
know this.
831
01:00:56,790 --> 01:01:00,894
You know, the...
the occasional, you know,
832
01:01:00,927 --> 01:01:03,196
hint gets dropped
by the studio
833
01:01:03,229 --> 01:01:08,201
that you know, everything is riding on
this and you better, you know, whatever.
834
01:01:08,234 --> 01:01:10,535
So this is not necessarily
inspirational,
835
01:01:10,568 --> 01:01:12,537
it's just terrifying.
836
01:01:12,570 --> 01:01:15,240
The complexity of putting
these things together
837
01:01:15,273 --> 01:01:18,143
is immense now,
and the pressure is immense.
838
01:01:18,176 --> 01:01:19,945
Our studio?
839
01:01:19,978 --> 01:01:23,448
We're rolling close to
a half a billion dollar roll
840
01:01:23,481 --> 01:01:25,784
every time we take out
a single movie.
841
01:01:25,818 --> 01:01:27,953
Do you know how much
you have to make?
842
01:01:27,986 --> 01:01:32,024
Every movie that you're making has to be
in the top 20 of all-time box office.
843
01:01:32,057 --> 01:01:33,859
It's insane.
844
01:01:33,892 --> 01:01:37,429
I just think the complexity
of the business overall has...
845
01:01:37,462 --> 01:01:40,198
Has brought a complexity
to the art form.
846
01:01:40,232 --> 01:01:42,300
On the movie "Armageddon,"
which I did,
847
01:01:42,334 --> 01:01:45,838
I literally got a clock
from Jerry Bruckheimer
848
01:01:45,871 --> 01:01:50,943
with a countdown clock, counting
down to the day we finish,
849
01:01:50,976 --> 01:01:54,111
and that was in front
of me at all times.
850
01:01:54,145 --> 01:01:57,048
Deadlines
can be terrifying.
851
01:01:57,081 --> 01:01:59,350
The schedule on this film
is so accelerated,
852
01:01:59,383 --> 01:02:01,919
it's on a whole other level
of professionality.
853
01:02:01,953 --> 01:02:03,387
It's been about
six hours so far,
854
01:02:03,420 --> 01:02:05,056
we've got another
three hours to go.
855
01:02:05,089 --> 01:02:06,090
So guess what,
856
01:02:06,123 --> 01:02:08,860
six clicks
into bar 29.
857
01:02:08,893 --> 01:02:10,561
Yeah, you should go up
a half step, I think.
858
01:02:10,594 --> 01:02:12,964
This kind of situation
is so expensive,
859
01:02:12,997 --> 01:02:14,866
and so hard
to organize.
860
01:02:14,899 --> 01:02:17,034
But there's always more than
one way to solve a problem.
861
01:02:21,939 --> 01:02:25,009
And you can solve this problem by
changing the music at this cut,
862
01:02:25,042 --> 01:02:27,378
or you can solve it by changing
the music at that cut.
863
01:02:36,252 --> 01:02:37,253
Great.
864
01:02:39,022 --> 01:02:40,924
As filmmaking styles
have changed,
865
01:02:40,957 --> 01:02:42,859
film music itself
has changed.
866
01:02:42,893 --> 01:02:46,062
And as filmmakers have realized
that, over the decades,
867
01:02:46,096 --> 01:02:47,497
um, they've asked
for different things
868
01:02:47,530 --> 01:02:49,032
and gotten
different things.
869
01:02:49,065 --> 01:02:51,034
What happened
in 1978-79?
870
01:02:51,067 --> 01:02:53,069
Somebody flipped on
a synthesizer.
871
01:02:54,971 --> 01:02:59,075
When the synth came in,
actually, punk also happened.
872
01:02:59,109 --> 01:03:00,944
And you have this
incredible new
873
01:03:00,977 --> 01:03:03,546
extroverted musical
intelligence going on.
874
01:03:16,391 --> 01:03:19,228
Danny Elfman.
He was a performer.
875
01:03:19,261 --> 01:03:21,163
You know, Tim Burton,
one day he gets to make a movie.
876
01:03:21,196 --> 01:03:22,364
Who's he going
to have score it?
877
01:03:22,397 --> 01:03:23,999
Hey, how about
his favorite band?
878
01:03:24,033 --> 01:03:26,301
Yeah, love Oingo Boingo.
Who's in Oingo Boingo?
879
01:03:26,335 --> 01:03:28,103
Who's really
the principal songwriter?
880
01:03:28,137 --> 01:03:30,339
Who's really doing... oh,
it's this guy Danny Elfman.
881
01:03:30,372 --> 01:03:32,507
Bingo-bango!
882
01:03:32,541 --> 01:03:37,179
I was starting to write weird
but elaborate compositions.
883
01:03:37,212 --> 01:03:41,016
I wrote this thing called "the Oingo
Boingo piano concerto no. 1 and a half".
884
01:03:41,050 --> 01:03:44,419
Without having written that, I never would
have taken "Pee Wee's big adventure".
885
01:03:53,395 --> 01:03:56,498
Since he was a kid,
more or less,
886
01:03:56,531 --> 01:04:01,269
just a really curious person who's
been amusing himself, you know?
887
01:04:01,302 --> 01:04:04,672
At first it was, you know,
just the antics of Oingo Boingo,
888
01:04:04,705 --> 01:04:07,008
and then the whole
Tim Burton, Pee Wee.
889
01:04:08,642 --> 01:04:11,345
There's nothing bland
about Danny.
890
01:04:11,379 --> 01:04:12,613
Thanks a lot, crew.
891
01:04:15,583 --> 01:04:17,585
Danny is the composer
892
01:04:17,618 --> 01:04:20,554
who grabs you by the collar during the
main title of the movie and says,
893
01:04:20,588 --> 01:04:24,959
"I'm about to take you into a world,
and here's what's it's about".
894
01:04:30,364 --> 01:04:32,466
Danny's biggest
strength is
895
01:04:32,500 --> 01:04:37,972
I think he comes up with the most
amazing little short musical ideas
896
01:04:38,006 --> 01:04:40,140
that then become
big musical ideas.
897
01:04:40,173 --> 01:04:43,110
When he fully, like,
exploded with "Batman,"
898
01:04:43,143 --> 01:04:45,112
everyone's mind
was blown.
899
01:04:45,145 --> 01:04:47,714
"Batman", there was only one
template: John Williams,
900
01:04:47,747 --> 01:04:50,117
and we didn't
wanna do that.
901
01:04:50,150 --> 01:04:52,619
Again, I had
nothing to go on.
902
01:04:52,652 --> 01:04:55,688
There was no model
of what kind of chords,
903
01:04:55,722 --> 01:05:00,360
how you do, like, a darker score
that's still fun and has energy.
904
01:05:05,732 --> 01:05:10,637
And I realized what I tried to learn
from Bernard Herrmann years earlier,
905
01:05:10,670 --> 01:05:15,442
which is, there is
only one rule.
906
01:05:15,475 --> 01:05:16,476
There are no rules.
907
01:05:21,580 --> 01:05:23,749
Boo!
908
01:05:30,222 --> 01:05:32,758
He can broach
the big, orchestral world
909
01:05:32,791 --> 01:05:35,261
with the very uber
contemporary world,
910
01:05:35,294 --> 01:05:37,129
and he does it
really seamlessly.
911
01:05:37,163 --> 01:05:40,632
And you can hear his sound,
his personality.
912
01:05:57,183 --> 01:06:00,419
Thomas Newman is
one of those composers
913
01:06:00,452 --> 01:06:04,155
that it's very difficult to sort
of describe what the sound is.
914
01:06:04,189 --> 01:06:08,593
Like Danny Elfman, Thomas has
developed his own sound.
915
01:06:18,403 --> 01:06:20,171
The first score
I worked with him on
916
01:06:20,205 --> 01:06:22,340
was "Shawshank Redemption".
917
01:06:22,373 --> 01:06:27,712
His music is extremely edgy and unique
and he has an unmistakable mark,
918
01:06:27,745 --> 01:06:30,315
it's like a watermark
on anything that he does.
919
01:06:37,755 --> 01:06:41,826
That's a lasting piece
of art, "Shawshank".
920
01:06:52,869 --> 01:06:55,272
My name is Lester Burnham.
921
01:06:55,305 --> 01:06:57,107
When I saw American Beauty,
922
01:06:57,141 --> 01:07:00,777
and I heard
Thomas Newman's first notes
923
01:07:00,810 --> 01:07:04,848
in the first frames of the movie...
I think it's a marimba that you hear.
924
01:07:04,881 --> 01:07:08,352
It absolutely sets
the tone of the film,
925
01:07:08,385 --> 01:07:10,120
puts you a little
off balance,
926
01:07:10,154 --> 01:07:13,290
lets you know that you're
in for a somewhat odd,
927
01:07:13,323 --> 01:07:17,661
offbeat take
on American life.
928
01:07:28,904 --> 01:07:30,673
The great thing
about Thomas Newman
929
01:07:30,706 --> 01:07:34,343
is he's managed to capture
a way of doing uncertainty,
930
01:07:34,377 --> 01:07:38,147
so it's never...
It's never too committed,
931
01:07:38,181 --> 01:07:42,785
but it's musically kind of got
this great character to it.
932
01:07:42,818 --> 01:07:45,388
He will generally,
in a cue,
933
01:07:45,421 --> 01:07:48,224
he'll establish
a key center.
934
01:07:48,257 --> 01:07:52,195
Things will start to weave in and out
around that, around that baseline.
935
01:08:05,508 --> 01:08:08,943
That creates a kind of a texture
that lives behind the orchestra.
936
01:08:08,976 --> 01:08:12,880
When the orchestra comes in,
it becomes part of that texture.
937
01:08:28,663 --> 01:08:31,466
Well, that particular language
just didn't exist.
938
01:08:31,499 --> 01:08:34,969
It was... came out
of Thomas Newman's brain.
939
01:08:35,002 --> 01:08:36,538
Thomas Newman
is Alfred Newman's
940
01:08:36,571 --> 01:08:37,739
youngest son.
941
01:08:37,772 --> 01:08:39,574
Yes, he is
orchestrally trained
942
01:08:39,607 --> 01:08:41,943
and he can write a great
orchestral score,
943
01:08:41,976 --> 01:08:43,878
but sometimes the movies
he was working on
944
01:08:43,911 --> 01:08:45,247
required something
more intimate.
945
01:08:54,755 --> 01:08:57,791
A lot ot times
you can get a mood,
946
01:08:57,824 --> 01:09:02,529
a prevailing mood and just
slap it onto an image
947
01:09:02,563 --> 01:09:04,898
and let it sit
for two minutes.
948
01:09:08,702 --> 01:09:11,738
Everybody rips it off.
Everybody.
949
01:09:11,772 --> 01:09:13,740
And they don't realize.
They don't realize.
950
01:09:13,774 --> 01:09:15,842
They're thinking "this is film
music, this is how I do film music.
951
01:09:15,876 --> 01:09:17,444
This is how
I do that thing".
952
01:09:29,990 --> 01:09:32,792
And of course
it's been imitated and copied,
953
01:09:32,825 --> 01:09:34,327
but he was...
954
01:09:34,360 --> 01:09:36,629
He was there
at that moment
955
01:09:36,662 --> 01:09:38,431
to introduce
something new.
956
01:09:39,932 --> 01:09:42,268
It's so difficult
to sit down
957
01:09:42,302 --> 01:09:48,007
and do that cold emotive
solo piano thing
958
01:09:48,040 --> 01:09:49,575
'cause he's perfected it.
959
01:09:58,851 --> 01:10:00,853
MTV is going on the air.
960
01:10:00,886 --> 01:10:02,688
What video are they
first gonna play?
961
01:10:02,722 --> 01:10:05,358
A song called,
"Video killed the radio star"?
962
01:10:10,496 --> 01:10:12,732
if you look closely, you can see
Hans Zimmer in the background.
963
01:10:18,870 --> 01:10:24,609
Hans brought an unconventional
rock swagger, okay,
964
01:10:24,643 --> 01:10:27,011
to film scoring.
965
01:10:37,689 --> 01:10:39,591
There's a brutality
about the way
966
01:10:39,624 --> 01:10:43,495
that the orchestra plays. There's
a violence, if you will.
967
01:10:43,528 --> 01:10:44,529
An aggression.
968
01:10:51,903 --> 01:10:54,839
There's an intensity about it, an
intensity about how it's written,
969
01:10:54,873 --> 01:10:56,874
an intensity
about how it's played.
970
01:10:58,976 --> 01:11:03,113
The single female voice
of Lisa Gerard in that film,
971
01:11:03,146 --> 01:11:06,316
on top of the visceral power
of the orchestra...
972
01:11:10,421 --> 01:11:13,491
Really had an impact
on the audience.
973
01:11:13,524 --> 01:11:18,095
I will see you again.
974
01:11:18,128 --> 01:11:21,399
But not yet.
Not yet.
975
01:11:25,903 --> 01:11:29,673
We had this idea.
It had to be a woman's voice.
976
01:11:34,778 --> 01:11:37,781
Why do you want a woman's
voice in a gladiator movie?
977
01:11:37,815 --> 01:11:42,151
The next day we came in, and there
was that hand on the wheat field.
978
01:11:42,184 --> 01:11:45,555
And that shot holds
for a minute.
979
01:11:45,588 --> 01:11:47,056
If you have written
that in the script
980
01:11:47,089 --> 01:11:50,627
it wouldn't have even
made it to being shot.
981
01:11:50,660 --> 01:11:53,129
Why would you hold your hand
on the wheat field?
982
01:11:53,162 --> 01:11:56,699
The only way that shot can work
was because of the music,
983
01:11:56,733 --> 01:11:58,468
because of Lisa's voice.
984
01:11:58,501 --> 01:12:00,837
But it sort of gave license
for the rest of the movie
985
01:12:00,870 --> 01:12:02,605
to be a little bit
more poetic
986
01:12:02,639 --> 01:12:04,507
and to be a little bit
more expansive.
987
01:12:04,541 --> 01:12:07,143
It really, I think, elevated
the whole experience,
988
01:12:07,176 --> 01:12:12,148
and it shaped the sound of
Hollywood for years afterwards.
989
01:12:12,181 --> 01:12:13,883
Now we're
in the Hans Zimmer era.
990
01:12:13,916 --> 01:12:16,419
It just looms over everything.
991
01:12:19,021 --> 01:12:21,022
This is why
he's a revolutionary.
992
01:12:21,056 --> 01:12:25,427
Hans took the string section
and made them like a guitar.
993
01:12:25,461 --> 01:12:26,662
They're playing rhythm.
994
01:12:30,065 --> 01:12:32,868
And that's a really
interesting thing.
995
01:12:32,901 --> 01:12:35,571
I don't think anybody
had really done that.
996
01:12:49,518 --> 01:12:52,921
"Pirates".
It's like Led Zeppelin.
997
01:12:52,954 --> 01:12:55,857
It's like freaking Led Zeppelin
played by an orchestra.
998
01:13:06,601 --> 01:13:09,837
What Hans has certainly done
on "Dark Knight"
999
01:13:09,870 --> 01:13:11,572
is obviously blur this line
1000
01:13:11,606 --> 01:13:14,241
between this giant symphonic
sound and electronics
1001
01:13:14,274 --> 01:13:19,814
and you're not quite sure where
one ends and the other begins.
1002
01:13:19,847 --> 01:13:22,550
The sort of light,
repetitive string ostinatos.
1003
01:13:22,583 --> 01:13:23,884
You hear that so often.
1004
01:13:33,193 --> 01:13:36,564
It's just all about
this constant pulse going on.
1005
01:13:44,004 --> 01:13:46,039
Terribly powerful.
1006
01:13:47,907 --> 01:13:49,676
Terribly exciting.
1007
01:13:54,080 --> 01:13:58,852
Hans Zimmer is still...
he's a legend and still
1008
01:13:58,885 --> 01:14:00,687
becoming more legendary.
1009
01:14:04,591 --> 01:14:07,694
The end of Inception",
it's like a new morning.
1010
01:14:16,936 --> 01:14:19,539
When he gets home, he's going
to be reunited with his family
1011
01:14:19,573 --> 01:14:21,207
for real, in reality.
1012
01:14:23,242 --> 01:14:26,178
You're led in one direction
like it's going to be okay.
1013
01:14:30,716 --> 01:14:34,019
Hans Zimmer's score really
washes over you in waves.
1014
01:14:39,792 --> 01:14:42,661
Then the music
just piles it on.
1015
01:14:46,098 --> 01:14:48,801
The camera pans down and you're
left with a big question.
1016
01:14:54,607 --> 01:14:57,542
Wow, music adds quite
a bit here.
1017
01:15:02,314 --> 01:15:03,982
We've seen over
the last five, six years
1018
01:15:04,016 --> 01:15:07,185
where people
that are not film composers
1019
01:15:07,219 --> 01:15:12,289
were asked by a director
to do something unique.
1020
01:15:12,323 --> 01:15:16,894
Like Trent Reznor
and Atticus Ross.
1021
01:15:16,928 --> 01:15:18,863
And I think these are really
good examples
1022
01:15:18,896 --> 01:15:22,266
where people
just really love people
1023
01:15:22,299 --> 01:15:25,803
that have an artist's career in
the world outside of film scoring
1024
01:15:25,837 --> 01:15:31,575
can bring so much authenticity in
music and sound to the picture.
1025
01:15:48,192 --> 01:15:51,127
The sounds they're using
are extremely contemporary.
1026
01:15:55,198 --> 01:15:57,333
Their score for
"The Social Network"
1027
01:15:57,367 --> 01:16:03,073
it's an emotional palette. It's a very
disturbing kind of lyrical piano.
1028
01:16:03,106 --> 01:16:05,108
It's human,
but it's technical.
1029
01:16:05,141 --> 01:16:10,647
It's emotionally dark,
but it's got some feeling to it.
1030
01:16:10,681 --> 01:16:12,248
When David Fincher called,
1031
01:16:12,282 --> 01:16:15,218
"hey, I want you to
score my next film". Fuck yeah.
1032
01:16:15,251 --> 01:16:19,055
"It's a movie about Facebook".
1033
01:16:19,089 --> 01:16:23,193
I would be hard-pressed to think of
something that sounded less sexy.
1034
01:16:23,226 --> 01:16:25,361
And we were
shuffling the deck
1035
01:16:25,395 --> 01:16:29,065
trying things that didn't
feel intuitive.
1036
01:16:37,907 --> 01:16:42,912
Talking about changing
the temperature of a movie
1037
01:16:42,945 --> 01:16:46,749
and the emotional response
of the audience.
1038
01:16:46,782 --> 01:16:48,283
Radically different.
1039
01:16:52,254 --> 01:16:54,323
The whole movie feels
different after that.
1040
01:16:54,356 --> 01:16:56,358
I think it feels like
a much more important film
1041
01:16:56,391 --> 01:17:00,329
than the kind of
"ah, college life, Tomfoolery"
1042
01:17:00,362 --> 01:17:02,798
that it could have been misled
1043
01:17:02,832 --> 01:17:04,800
into feeling
with the wrong music in there.
1044
01:17:04,834 --> 01:17:08,403
And ever since that point,
there are a lot more electronic
1045
01:17:08,437 --> 01:17:10,272
artists doing film scores.
1046
01:17:10,305 --> 01:17:12,141
Electronic production,
and engineering
1047
01:17:12,174 --> 01:17:13,408
and a whole different way
of looking at music
1048
01:17:13,442 --> 01:17:15,309
that is often
much more visceral.
1049
01:17:15,343 --> 01:17:18,279
Trent Reznor and Atticus Ross
for "The Social Network".
1050
01:17:18,312 --> 01:17:21,115
I think it's totally deserved
that Trent Reznor
1051
01:17:21,149 --> 01:17:25,019
not only got nominated but
also won an Oscar for score.
1052
01:17:25,053 --> 01:17:27,088
It's completely deserved.
1053
01:17:27,121 --> 01:17:30,725
When you have an unconventional
image with unconventional sound,
1054
01:17:30,759 --> 01:17:33,294
like with a lot of the things
Trent and Atticus are doing,
1055
01:17:33,327 --> 01:17:35,496
the results can
really be so much greater
1056
01:17:35,529 --> 01:17:37,098
than the sum of their parts.
1057
01:17:37,131 --> 01:17:40,969
What the net result
of that is, you know,
1058
01:17:41,002 --> 01:17:42,804
in some ways
is sort of beautiful chaos.
1059
01:17:42,837 --> 01:17:46,207
Film music has changed,
fairly radically.
1060
01:17:53,347 --> 01:17:56,850
There's far
more experimentation.
1061
01:17:56,884 --> 01:18:02,089
There's far more freedom and inviting
artists who would never have
1062
01:18:02,122 --> 01:18:04,357
thought of doing a film score
and nobody would have thought
1063
01:18:04,391 --> 01:18:06,359
of doing a film score before.
1064
01:18:06,393 --> 01:18:08,361
And to me that's really
exciting.
1065
01:18:08,395 --> 01:18:11,531
Technology
has made it possible
1066
01:18:11,564 --> 01:18:16,036
for every composer
to be a producer, as well.
1067
01:18:16,069 --> 01:18:19,339
At the core of it, though,
is the tune.
1068
01:18:21,374 --> 01:18:24,211
For this one
is the only cue that I feel
1069
01:18:24,244 --> 01:18:25,946
that we still need
to work a little bit.
1070
01:18:25,979 --> 01:18:28,916
It happens to be the opening
of the movie.
1071
01:18:28,949 --> 01:18:33,020
So, if we can get like this
1072
01:18:33,053 --> 01:18:36,256
our orchestral ukulele,
so to speak,
1073
01:18:36,289 --> 01:18:38,390
in a very simple...
Very like
1074
01:18:38,424 --> 01:18:43,162
plink, plink, plink,
plink, plink.
1075
01:18:43,195 --> 01:18:45,197
- Like that way, yup.
- Flies it by, yeah.
1076
01:18:45,231 --> 01:18:46,498
Very, very kinda sweet.
1077
01:18:46,532 --> 01:18:48,935
One, two, three and...
1078
01:18:53,372 --> 01:18:55,074
Can we do it... okay.
1079
01:18:55,107 --> 01:19:00,146
Can we do it so your nails
go on top of the string,
1080
01:19:00,179 --> 01:19:01,981
so it's kind of dirty.
1081
01:19:02,014 --> 01:19:04,050
So you plink,
plink, plink,
1082
01:19:04,083 --> 01:19:06,118
yes, yes.
1083
01:19:16,162 --> 01:19:18,297
The cellos now.
1084
01:19:32,911 --> 01:19:35,213
An amazing sound.
1085
01:19:35,246 --> 01:19:37,448
- Happy?
- I'm more than happy, man.
1086
01:19:37,482 --> 01:19:40,051
I'm like hypnotized.
1087
01:19:51,262 --> 01:19:53,031
Yeah, yeah.
1088
01:20:26,463 --> 01:20:27,631
Whoo-hoo!
1089
01:20:27,664 --> 01:20:29,967
Man, this is some
powerful stuff.
1090
01:20:30,000 --> 01:20:31,902
Beautiful.
1091
01:20:33,437 --> 01:20:37,507
I just wanna thank you again
because you are amazing,
1092
01:20:37,541 --> 01:20:40,544
and what a privilege
it is for a musician,
1093
01:20:40,577 --> 01:20:44,113
like myself, to have you
guys playing my music.
1094
01:20:44,147 --> 01:20:46,382
So, thank you very much.
1095
01:20:46,415 --> 01:20:47,416
Thank you, Heitor.
1096
01:20:54,223 --> 01:20:57,026
Film music is essentially
a recorded art.
1097
01:20:57,060 --> 01:21:00,196
Once you have the recording,
then you're into mixing,
1098
01:21:00,229 --> 01:21:03,466
the more technological
part of the production.
1099
01:21:06,202 --> 01:21:08,071
Before the music
leaves my studio,
1100
01:21:08,104 --> 01:21:11,074
I just give it
one last final mix
1101
01:21:11,107 --> 01:21:14,043
to make sure everything that
I want to be heard is heard.
1102
01:21:14,077 --> 01:21:17,246
Every element needs
some amount of attention
1103
01:21:17,280 --> 01:21:19,715
to create the overall
feel that you want.
1104
01:21:27,422 --> 01:21:31,059
So that's... that's his
main little melody.
1105
01:21:31,093 --> 01:21:34,729
Very simple, because
he's a big simple, evil dude.
1106
01:21:34,762 --> 01:21:38,533
So there's a point where, it's a
really dramatic moment in the film.
1107
01:21:38,566 --> 01:21:40,035
Up until this point
in the music
1108
01:21:40,068 --> 01:21:41,503
I didn't have
any French horns,
1109
01:21:41,536 --> 01:21:43,005
so I introduced them.
1110
01:21:54,049 --> 01:21:55,617
You probably
can't even hear them.
1111
01:21:55,650 --> 01:21:59,121
I can hear them because I know
what they're playing, but...
1112
01:22:01,423 --> 01:22:05,360
Okay, so, now simply
mixing them up a bit.
1113
01:22:22,509 --> 01:22:25,479
Every time I played that
just then, they were there.
1114
01:22:25,512 --> 01:22:27,214
When I turn
the horns down,
1115
01:22:27,248 --> 01:22:29,683
I don't feel
that emotional peak.
1116
01:22:29,716 --> 01:22:32,553
Now there's 50 foot robots
running down the highway,
1117
01:22:32,586 --> 01:22:35,656
that line
better be mixed up loud,
1118
01:22:35,689 --> 01:22:37,424
otherwise, you're not
gonna hear it.
1119
01:22:37,458 --> 01:22:39,360
You want your intention
to be clear.
1120
01:22:52,438 --> 01:22:55,675
The horns just give it kind of
more of an emotional weight.
1121
01:22:55,708 --> 01:22:58,644
That's a part of mixing, is just
making sure the elements
1122
01:22:58,678 --> 01:23:00,480
that you want to grab hold
of the audience
1123
01:23:00,513 --> 01:23:04,517
are loud enough
to make a statement.
1124
01:23:06,186 --> 01:23:08,321
And you can't really
be wishy washy.
1125
01:23:08,354 --> 01:23:11,023
You have
to make bold statements.
1126
01:23:25,571 --> 01:23:27,307
I think, you know,
with "Furious 7,"
1127
01:23:27,340 --> 01:23:29,575
people really reacted
to that film
1128
01:23:29,609 --> 01:23:31,543
on an emotional level.
1129
01:23:34,579 --> 01:23:36,815
Paul and his character
say goodbye.
1130
01:23:39,218 --> 01:23:42,187
That's probably one of the most
powerful theater experiences
1131
01:23:42,221 --> 01:23:45,157
I've had watching a film
that I had worked on.
1132
01:23:47,526 --> 01:23:49,828
And it kind of crossed over
his real life.
1133
01:23:54,299 --> 01:23:58,270
You can feel when a cue
is working the audience.
1134
01:23:58,303 --> 01:23:59,604
That's what I love
about film music,
1135
01:23:59,638 --> 01:24:01,773
if it's all emotion.
1136
01:24:05,310 --> 01:24:09,748
I think seeing audience reaction
to films that you've worked on
1137
01:24:09,781 --> 01:24:11,483
is really helpful.
1138
01:24:11,516 --> 01:24:13,551
It doesn't help you
for the film that you just did,
1139
01:24:13,584 --> 01:24:15,219
because it's already out
in the theater.
1140
01:24:15,253 --> 01:24:17,688
But it certainly will help you
for the next film.
1141
01:24:22,760 --> 01:24:27,765
Seeing literally the reaction
of how people respond
1142
01:24:27,798 --> 01:24:30,434
to your music,
that's really cool.
1143
01:24:45,449 --> 01:24:47,618
Now often, I'll cruise up
to the front,
1144
01:24:47,651 --> 01:24:51,555
and creepily turn back
and look at the audience
1145
01:24:51,589 --> 01:24:53,123
watching the movie.
1146
01:25:01,898 --> 01:25:04,634
Very rarely
am I spotted doing that.
1147
01:25:04,667 --> 01:25:06,869
Every once in a while I will
look through the audience,
1148
01:25:06,903 --> 01:25:08,505
I'm enjoying
everyone watching it,
1149
01:25:08,538 --> 01:25:11,208
and then there's one head
like at the tennis match
1150
01:25:11,241 --> 01:25:14,444
with the one person like looking
right at you looking at them
1151
01:25:14,477 --> 01:25:16,279
and that's uncomfortable,
and then I leave.
1152
01:25:22,752 --> 01:25:24,821
You want to get a sense
of how did this work?
1153
01:25:29,426 --> 01:25:31,628
Especially in the scenes
that are really musical.
1154
01:25:31,661 --> 01:25:34,631
Did they move people?
1155
01:25:34,664 --> 01:25:39,501
And then I do something
that's slightly embarrassing.
1156
01:25:39,535 --> 01:25:42,771
I will run into
a bathroom stall,
1157
01:25:42,804 --> 01:25:47,976
um, and see
if they're humming
1158
01:25:48,009 --> 01:25:49,978
or whistling the theme,
1159
01:25:50,011 --> 01:25:55,651
and it is amazing how many times
that's actually happened.
1160
01:25:55,684 --> 01:25:58,554
It's like the ultimate
pat on the back.
1161
01:26:00,456 --> 01:26:03,825
To me, I feel like
I affected them on a level
1162
01:26:03,859 --> 01:26:05,794
that they're unaware of.
1163
01:26:08,464 --> 01:26:12,301
It's cool to be able
to witness people
1164
01:26:12,334 --> 01:26:14,436
experiencing
what I experienced
1165
01:26:14,470 --> 01:26:17,506
when I was watching films
growing up.
1166
01:26:17,539 --> 01:26:22,743
And to think that it lives on
beyond you is a crazy thing.
1167
01:26:22,777 --> 01:26:24,979
I mean, it's definitely
gonna outlive me.
1168
01:26:25,012 --> 01:26:28,316
You know, these movies
will be continued to be watched
1169
01:26:28,349 --> 01:26:29,984
and that's really cool.
1170
01:26:30,017 --> 01:26:32,987
One of the responsibilities
we have as film composers,
1171
01:26:33,020 --> 01:26:37,258
is we're the last people
on earth who on a daily basis
1172
01:26:37,292 --> 01:26:39,394
commission orchestral music.
1173
01:26:39,427 --> 01:26:41,629
Without us, the orchestras
might just disappear,
1174
01:26:41,662 --> 01:26:43,731
and I think that will
create a rift
1175
01:26:43,764 --> 01:26:46,701
in, you know,
human culture.
1176
01:26:46,734 --> 01:26:51,272
I think it will be
such a loss to humanity.
1177
01:27:07,621 --> 01:27:09,789
We all have this fragility.
1178
01:27:13,360 --> 01:27:15,729
We can chat for hours
and in a funny way,
1179
01:27:15,762 --> 01:27:17,030
I'm very secure about this.
1180
01:27:17,063 --> 01:27:19,399
I... because I hide
behind the work.
1181
01:27:19,433 --> 01:27:21,601
You'll never really
figure me out.
1182
01:27:21,635 --> 01:27:24,538
But when I play you
a piece of music,
1183
01:27:24,571 --> 01:27:26,706
I completely expose myself.
1184
01:27:29,509 --> 01:27:33,347
And that's the really
scary moment.
1185
01:27:33,380 --> 01:27:36,516
I love, I love,
I love what I do.
1186
01:27:38,718 --> 01:27:41,788
Even when I sit there
driven by paranoia, fear,
1187
01:27:41,821 --> 01:27:44,957
neurosis, you know,
pulling my hair out.
1188
01:27:49,462 --> 01:27:51,730
I still wouldn't trade it
for anything else.
1189
01:28:04,810 --> 01:28:08,781
Very few people
can be inspired every day
1190
01:28:08,814 --> 01:28:11,484
to write something brilliant.
1191
01:28:11,517 --> 01:28:13,586
Whether or not
you're aware of it,
1192
01:28:13,619 --> 01:28:16,121
music plays
such an important role
1193
01:28:16,154 --> 01:28:17,956
in how you respond
to a film.
1194
01:28:17,990 --> 01:28:20,626
All your other work on a film
can come to nothing
1195
01:28:20,659 --> 01:28:22,895
if you don't
get the music right.
1196
01:28:22,928 --> 01:28:24,796
You constantly have
to reinvent yourself
1197
01:28:24,829 --> 01:28:28,900
and you have to adapt to very,
very difficult psyches.
1198
01:28:28,933 --> 01:28:31,636
It's quite a lot of weight
to carry on your shoulders,
1199
01:28:31,669 --> 01:28:34,038
if you're just struggling
and you have self doubts,
1200
01:28:34,071 --> 01:28:37,341
and sometimes, yeah, sometimes
you crash into a wall.
1201
01:28:39,411 --> 01:28:43,114
The satisfaction of succeeding,
yeah, it's really something.
1202
01:28:43,147 --> 01:28:46,851
Film music is one
of the great art forms
1203
01:28:46,884 --> 01:28:48,986
of the 20th and 21st century.
1204
01:28:49,020 --> 01:28:52,123
There is something
about what the film composer
1205
01:28:52,156 --> 01:28:54,826
brings in
by their intuition.
1206
01:28:56,461 --> 01:28:59,631
That unique ecology,
that unique combination
1207
01:28:59,664 --> 01:29:05,570
is what makes film music
so powerful, so mysterious,
1208
01:29:05,603 --> 01:29:10,441
and probably uncaptureable
to us as scientists.
1209
01:30:32,153 --> 01:30:36,090
When we were cutting "Titanic",
James was sending over music
1210
01:30:36,124 --> 01:30:39,661
as he was... 'Cause what
he would do is sketch out
1211
01:30:39,694 --> 01:30:42,230
on synthesizer,
with his synthesist,
1212
01:30:42,263 --> 01:30:45,233
what he intended to do
with the orchestra.
1213
01:30:45,266 --> 01:30:48,069
So I was used to getting
sort of new ideas coming in.
1214
01:30:48,102 --> 01:30:49,604
So I was sitting there
cutting one day
1215
01:30:49,638 --> 01:30:53,575
and a disc came in
that said, "sketch".
1216
01:30:53,608 --> 01:30:56,611
I thought, "oh, okay, this goes
for the sketching scene".
1217
01:30:56,645 --> 01:30:58,913
I just kinda slid it around
until I found a place
1218
01:30:58,947 --> 01:31:01,149
where it seemed to sync
with the scene nicely.
1219
01:31:09,891 --> 01:31:11,893
So serious.
1220
01:31:11,926 --> 01:31:14,094
There's a kind of
piano downbeat
1221
01:31:14,127 --> 01:31:16,997
that I just put on
Leonardo's eyes coming up
1222
01:31:17,030 --> 01:31:19,266
and looking directly
at the camera.
1223
01:31:23,637 --> 01:31:25,706
A critical moment
of eye contact
1224
01:31:25,739 --> 01:31:27,608
between the two of them
while he's drawing her,
1225
01:31:27,641 --> 01:31:29,009
and then, boy,
it just really flowed.
1226
01:31:34,715 --> 01:31:36,950
So, I was so excited about it,
I called him up,
1227
01:31:36,984 --> 01:31:39,620
I said, "listen,
this is working so well".
1228
01:31:39,653 --> 01:31:41,154
I put it up
to the sketching scene
1229
01:31:41,188 --> 01:31:42,956
and it's working
fantastically.
1230
01:31:42,990 --> 01:31:44,792
And he said, "oh, no, no, no,
no, that's just a sketch.
1231
01:31:44,825 --> 01:31:47,127
It's just a piano sketch
of a melody.
1232
01:31:47,160 --> 01:31:50,230
We can drop it in anywhere". And I said,
"but it works beautifully on this scene.
1233
01:31:50,263 --> 01:31:53,667
He said, "really?" I said,
"yeah, get your ass over here".
1234
01:31:53,701 --> 01:31:56,703
So, he came over, he said,
"oh, that works pretty well".
1235
01:31:56,736 --> 01:31:58,270
He said, "all right,
well, I'll orchestrate it".
1236
01:31:58,304 --> 01:32:00,740
I said, "no, no, no, no.
Just the piano".
1237
01:32:09,849 --> 01:32:13,586
He said, "all right, I know
the best pianist in the world.
1238
01:32:13,620 --> 01:32:14,921
I know...
He's out of London".
1239
01:32:14,954 --> 01:32:18,925
I said, "no, it's you,
buddy, it's you".
1240
01:32:19,305 --> 01:32:25,875
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