All language subtitles for 10_Scoring_Under_Dialogue_Hans

They used to be all these rules.

You're not supposed to write for clarinets
because they had the vocal range.

Well,

if you.

I don't think I sound like a clarinet.

I don't think I sound like a clarinet.

so I think.

It's just
just just be a little bit mindful.

I mean, a lot of these rules
about how we're supposed to

circumnavigate dialog
come from the days before,

you know, I have the picture running
when I'm writing

and I pop the dialog up and I can see
if I can understand every word.

You know, if they come from the time
before pick up, people actually had,

you know, they had a viola
if they were lucky.

And but they couldn't,
you know, they couldn't sink it.

It didn't matter
their piano playing to the dialog.

It wasn't until they unleashed
the orchestra that they found out that

it's all a bit

loud and a bit,
you know, stepping all over the dialog.

Most screenwriters, if they're any good,
will pick just the right words

and just the right amount of words
to get that story across.

So as a composer,
you got to do the same thing.

Don't pick too many words.

Don't pick the wrong words.

It's just, you know what?

What's what's the story
you're trying to convey right now.

And it doesn't matter

if an actor is speaking or if it's a well,
it doesn't matter if it's a car chase,

because nothing new can happen
till the car chases over anyway. So.

And nobody can hear anything
other than the roaring of cars.

you know, look, it's
back to the same argument.

All the same thing
I've been saying all along.

Be mindful of the story.

So if you're getting
in the way of the story

which is being told by the character,
you're doing something wrong.

if you are on story,
if you just stick with story,

stick on story,
but that's your safety net.

You know,
it doesn't matter that you've just written

the nicest and most beautiful
piece of music of your career.

If it interferes with the story,

then it chuck it,

throw it in the trash.

You know,

the Sherlock stuff is actually strange
because it was

it was a bit of an oopsie.

Not having everything this close,
recording everything this close,

and not giving a perspective
so that it became really tough.

And, you know, on the dubbing engineer
and you just want to have real masters

working it, because,

quite simply,
I think it's, it's not the size

of the orchestra or the amount of noise
you make that gets in the way.

if your dialog is close,
if your character is close to you

or whatever, unclear.

And you make your orchestra
in the right way.

Perspective, it's just as effective
as turning the volume down. So,

I think a lot about

the perspective of the scene,
you know, where I want to have

the players placed in relationship to the,

to the actors in a way.

But it's not necessarily

about volume.

It's it's about perspective.

So if you can make sure that

your orchestra or your musicians
aren't further away, your

your ear will automatically go to the
the clear, closely miked thing.

I mean, you know, just it's

you're about nine
milliseconds away from me right now.

You know, you're not in real time because
of the distance between the two of us.

So if I recorded Abbey road an hour

and any of the whole that I like
recording at, you know, that's a

fair distance between the orchestra and,

and where the mics get hit, you know, so,
that's an automatic thing.

And then I can go

and push things further away by adding,
you know, adding more room.

And, and, you know,

very quickly you actually lose the sense
of how close things are.

And, and the other nice thing,
of course, is

when you have mics farther
away, even in a dry room,

the, the

air absorbs the high frequencies,
so there's less of a natural, beautiful

roll off that happens and that just,
you know, lets the voice through.

So if you record everything really close
and otherwise

you do not have that natural roll off

like some people
might have done in Sherlock Holmes.

yeah.

You're gonna land yourself
in a world of trouble.

Sound has changed,
you know, it's we're not in.

And the mono world where it comes
out of one little speaker anymore.

And you do have to sort of
you have to make a decision

at a certain point
about how you're gonna approach things.

I mean, I find this
this happens to us on the Chris Nolan

movies all the time where,

we get

berated for
the music being too loud in interstellar

that you can't hear the dialog
and and people keep forgetting

Chris is not only the director of this
film.

He's the writer of the film.
It's his dialog.

He could do with it what he wants.

And if sometimes he thinks that the music

creates, you know, creates

a better narrative or explains

or says something that he prefers to hear

notes as opposed to words,
then you know, he can do this.

But the point is.

Don't be shy about

being, you know,
being ballsy on the dialog as well.

The it's a huge big screen.

And you, you hope that you're going
to have a great, huge, wonderful

sound system to listen to it on all
you can go the other way and you can say,

but I'm just going to go and write
for the worst

cinema experience I can possibly think of,
which is some screen,

but all the speakers are blown
except for the left hand corner tweeter.

Aim upwards.

Hope that the hope that this movie
is going to get shown

only in cinemas,
where the sound is wonderful

and if the sound isn't wonderful,
don't blame us.

We really did do a good job
and we really sat there

and you know, we weren't haphazard.

We're not random.

We spend an enormous amount of time
making sure that you can hear

everything you're supposed to be hearing,

and therefore I'm going to be really,
really cautious.

But my attitude, as they all know,
we're working really, really hard

and we're trying to make it sound
really good

and we're trying
to make it comprehensible.

And yeah, the last thing you want to do
is not let people

have the information,
that, that they need.

But not all the information
is always conveyed in dialog.

It's not necessarily that that it's always
just dialog,

that that gives you
the right information.

Sometimes it's sound, sometimes
it's music, sometimes it's silence.

This is not part of the game.

You try to figure out
an interesting way of

how to coexist with the dialog,
how to be quiet.

I bet you that a lot of people who go,
oh my God, it's a dialog scene.

They're going to go and write the dialog.

All I'm going to do
is be like some pad underneath

the dialog doesn't have to be
that can be something really interesting.

It's it's teamwork.

I mean, it's it's it's you can't just say,
oh, it's going under dialog.

I mean, if you're dealing with an actor

with a soft voice,
I'm not a very strong voice.

Yeah.

It's going to be probably
a little bit more problematic than if

if you're dealing with Jack Nicholson
or just like, you know,

as somebody who projects
somebody who really knows how to do it,

and then it really does become teamwork
as well.

The circumstances. Okay.

I'll give you, great example.

Dark Knight Rises,

we have a scene between Batman and Bane,

and they're having a big showdown.

And it's right in front of a waterfall,

you know, visually perfect.

But they're both wearing masks,
and it's in front of a waterfall.

So there's a lot of a lot of the spectrum
has been covered,

you know, and, you know, and,

Chris

is absolutely the treatment
and shooting the scene

that way.

and, you know, and,

and trusting us
and the sound department, etc., to go

and dig the dialog out
and make it comprehensible.