All language subtitles for 13_Music_Diary_Sherlock_Holmes

This is my prison.

It's the room I spend 98% of my life and,

Because that's all I really do.

I go home.

I come here, I love writing music,
so what have I got in front of me?

It's my computer,
and it makes all sorts of.

I think, you know, the novelty
that people don't realize that.

That, you know, a computer can play
any type of instrument.

I think that's sort of gone by now,
you know? So.

So in front of me, it's
my virtual orchestra, basically,

because that's how I work.

So the way I work is after
a lot of procrastination,

I have to sit down
and eventually I have to start somewhere.

And this usually means
I have to put the glasses on

because I can't see the screen anymore.

And after having a conversation

with the director and sort of knowing
where this film is going, I just work.

I just start writing my ideas down
and that's a diary type fashion

where every day
I just move forward in this piece

and it's just

it starts somewhere
and it's trying to find a theme

or trying to find a vibe or trying
to find a mood or something like this.

But every day I just add to it.

I don't go back and revise things.

So because sometimes things
that you discarded

eight weeks earlier, you suddenly remember
and go, hang on a second.

It's it was a terrible idea at the time,
but actually, it turns out

that's quite cool.

So the way that I work is I sort of know
the movie pretty well.

I know it as well as you can at this point
where a movie doesn't really exist

other than the head of the director,
scenes of being shot, etc. but

I do need to go

and start fishing around
for some material.

It comes from the conversation
with the director

and you're all enthusiastic
because it's all new

possibilities, opportunities,
great ideas, etc.

and then you go into this room
and you sit in front of this

and it's all gone, and you just go,
oh my God,

I have no idea what to do,

but you need to, you know,
the courage of starting somewhere.

So the first marker says intro
because it needs to start somewhere,

you know, and I'm
pretty sure I sort of remember what I did.

I think the first thing
I literally did was,

just put, put this line in

because I thought.

I just, I just knew that.

I sort of had it in my head and

the thing about this piece is,
you know, it's not a piece.

It's it literally is a diary.

You can see how my ideas slowly sort of
come up, you know, and asking, oh, okay.

Hang on a second. This would be cool
if I did it on a clarinet.

So next, Marcus called clarinet.

Since this is literally my process here.

So, I mean, you know, a Sherlock,

it starts.

Fairly hesitantly,

as I'm trying to figure this all out.

So I knew I had to go and find something
dark.

And I knew I had to go and find something
remarkable.

Or something good enough for,

you know, our villain.

And really, this this

this whole whole thing is just sort of it
literally.

It's my thought process, you know, where,
you know, up here,

you see little Marcus floating around,
you know,

just which is on my memory. Help us.

That no poetic Marcus.

I mean, you get to things like loud part,

you know, just eventually
you need to get to a loud point.

It's very pragmatic, all this, you know,
so he has allowed that.

And all you're trying to do
is you're playing with things

and you're trying to see how far
you can take them, or if they go anywhere,

or if you should just chuck
the whole thing and phone the director,

give them a phone number
of a decent composer and say, I quit.

So I start somewhere.

You know, I had this phrase

which is,

you know, in this case
it was very much related to,

Schubert's The Trout because I thought
it'd be fun to play with that

and make that into Moriarty's theme,

that this piece is literally about.

One character,
you know, this is the antagonist.

This is, you know.

Sherlock's nemesis

and and really how since he sort of drives

the story in one way or the other,

the, you know,
the bad guy makes things happen.

And that's why, you know,
our hero needs to do whatever he does.

So this is, you know,
this thing really in its entirety

is everything that the,

you know,
that the bad guy sets into motion,

and, God, down to this one.

Let me just have a look.

Yeah.

so some of it is mysterious.

Some of it is just crazy stuff.

It's like these chords became

important.

It's just these.

Occasionally you have to go and

have, like, a stupid brass band moment.

I don't make it into the movie.
I have no idea.

Not everything
that's that made into the movie.

And remember, this is not.

None of this is supposed to be
a coherent piece of music.

This is just

fragments.

But I do try to link the fragments up
because

the transitions are important,
you know, and

and as you're writing the main material,
you're actually forever thinking of

how can it transition
from one thing to another,

you know, and it's it's actually okay.

We can we can just do lucky dip here.

Hang on.

So if there's a spar to to fall and

we want to go to somewhere

completely different,

let's say we go to let's three, six, five.

So we'll just just for trial and error,
I can sort of edit

this by hand and just see what happens
when you jump from one to the other.

And I picked two completely
random places. So.

so will it transition?

Okay.

Yeah. In this case,
it transitions pretty easily.

then I mean,

here I'm noticing
that one of the things I realized

at about bar 400, I realized

if I give my antagonist

so much weight and so much power,

I better find out how to turn the,

my tiny, you know, my.

There's a piano.

there we go.

I better give Mr.

Holmes some balls as well.

So this is.

So it's.

I mean, it's absolutely
maintaining his theme, but it's just a

it's just a much more aggressive version.

You know, back to the symbol.

so, so, so partly as I developed this,

I'm developing
sort of both sides of the coin as well.

I mean, I have to I have to figure out
how big I want this movie to get.

how funny I want this movie to get,

how agile I want it to be.

Plus, the other thing is by writing
in this diary form

and I'm really sticking it to one tempo,

I can figure out

if there's a, you know,
if within the music there's a, there's

enough forward momentum
and enough drive to sort of

get me through this movie,

and enough storytelling in it, you know?

So each phrase isn't about,
oh, is it a pretty phrase, or did

I like the phrase at each phrase,
God knows what this is.

Oh, it says mystery,
but let's go and find out what mystery is.

Inevitably,

there are going to be
some mysterious moments.

And I thought

basically
a heavy metal riff on a clarinet.

But the sort of creepy
stuff becomes really useful.

I mean,

trying to work
with the least amount of forces as well.

I know so.

Know.

but slowly, you know,

it's.

If you don't give up idea, start coming.

Oh. There are no nice transitions here.

It was literally like,
okay, bored with that idea?

I know how to make something work
out of this.

Next thing is called clock.

And then there's a marker called tune. So.

Thinking back all these years,
I thought the idea of these clock

ticks was interest and time,
which could become that chess thing.

And I knew so that little clarinet thing.

But I actually had a lot of notes
at the beginning.

Did it work? Well, because,

you know, and I'm just stripping it away
now because it's just takes

confidence and say, to know the material,
to start stripping away

all the all the stuff you don't need,
the whole thing is something much simpler.

And it's

actually has got much more vibe,
and it's got a

which then goes into some.

And I'm starting to develop

this whole clock idea.

and I'm sneaking up on the tune.

That's all I'm doing.

You know, I, you know, this might be like,
day five or day ten or something.

I have no idea.

But you just have to
doggedly move forward.

I think that's the secret to getting it.

Getting it? Grip.

Oh, look, this, nearly a big part.

And then you can tell pretty quickly
when I'm going.

Okay, I know what what this could become.

Now, I remember this.

This was like. Oh, hang on a second.
This could be cool.

This could become a riff.

This could become an ax me thing.

So now from those shabby little,
from those shabby

little notes at the beginning,
suddenly it's going to take off.

And a bit of inspiration
is actually hitting.

And then inspiration obviously stopped.

oh. Then there's a big if.

It's a red marker.

It means for the moment,
I felt secure enough to go.

This bit might become something.

And it says to so.

Oh, right.

Okay. So this is just the same.

It's just developed on from the beginning.

So I want just to recapitulate,

as they say, and classical music.

So we went from.

So if that's the seed of the idea,

just this one phrase.

I think comes again,

So over a few days

it's now become this.

This is like Guy and James Herbert.

on the cutting room, cutting away
while I'm,

you know,
sort of rushing parallel to them,

you know, and and all I'm hoping is, well,
all I'm hoping is that

that somehow we're not in perfect
thing, but at least we're

metaphorically in sync.

So partly what I'm doing is
I'm not just writing the notes

into this diary,
but I'm trying to figure out the style.

I try to figure out stylistically
where this is going to go.

harmonically, sonically,

as a, as a straight orchestra,
as this is synth guys,

there's some amalgamation
of different things.

I and,

you know,
whatever the cutting room sense of,

fragments of a movie, a bit of picks,
you know,

just just just shove it
up against the scene and see what happens.

I mean,

if you have a really good music editor,
like I do,

all sorts of discoveries
are going to be made.

pieces of music.

You thought you were writing for something
completely different suddenly

illuminate a certain scene
in a way that you never expected.

And so slowly as I start developing
through these pieces, I hand them

so. And, you know,
I'm, you know, it's going to get too loud.

But right there,

I was I just start handing them over
to the cutting room

and I start handing them over
to my trusted music editor

pop out of me,
and we just try them up against picture.

I mean, we just lay them up, see what
works, see how to adjust the tone.

I mean, the great thing
about working this virtual world is

I don't have to get an orchestra
and just try things

sometimes to get me sessions. And,

and I mean

computers to make it so, so incredibly

flexible these days that, you know,
if the scene,

let's just try this,
I mean, if the scene plays slower,

you know, then 140 2 p.m., I mean,

if this all looks a bit wrong, you know,
there's no reason I can't just go.

Change tempo or whatever.

So after a while, I have all these
flexible bits, all these different ideas.

You know, weirdly,

this piece is about 23 minutes
written like a diary.

Every day I write a few more things
and I think very little in here

didn't end up becoming part of the score.

you know,
I mean, so, you know, it's stuff goes on

and it's, you know, like there's
a lot of the sort of the weird,

you know, it's the little weird

sounding stuff.

You know, because this is all just

virtually hanging around this.

So, I mean, that's that's,

you know,
just sort of taking it apart into

a lot of the sort of.

Crazy things about the way I broadcast

because I work in the computer,
which means I can make all these noises.

you know.

It means

at one point or the other,
I played every note in the school.

that's a lot slower than writing on paper.

You know, it's it's in a funny way.

I performed my whole script at one point
or the other.

before I sort of unleashed it

onto other musicians who can contribute.

But weirdly,
I have to go through this sort of.

It's just it's my process.

I have to go through this diary process

so that I answered all the questions
that I've had for myself.

There's certain things I had to fulfill.

I had to go for, you know,

do things
which were because Moriarty, to me

felt much more of a classicist,
you know, then than shut up.

So, you know, you know,
part of it was just, oh, how can I write

a tasty bit? And,

more classical way without, you know,
like,

still. And.

I, you know, it's

just for my own sake and and the
the question that's going to be asked,

which is,
are you getting to dark all your fun

enough,
or is a dark enough of all those things?

Yeah.

I'm just trying to hone in on the tone
of the whole thing, and I'm just trying

to see whether that one little phrase
at the beginning will take me.

That was, you know, the,

you know, if at the top of this is,
you know, bog standard,

we're going to have a string section
type of,

you know, it's, it's.

I mean,

there's certain givens,
you know, with the horns and

so that's there.

And then below that, it
suddenly starts getting a little bit more.

Eclectic.

You know, that's.

So while this process was going
on, I was torturing

violinists, bass
players, timber long players, you know.

No, no, no.

Can we go and sample your instrument?

And I want you to do this.

And I think it'll become something cool,
I don't know.

Let's
see if I can even find any of that stuff.

so below this as it starts

just becoming a collection of,

we had

it just it just becomes the collection of,

you know, the, the weird sort of colors
I hear.

I mean, part of it is you write the notes
and part of it as what color he going?

A half.

And what's the unusual stuff?
So once, once

the once you leave the orchestra,
which is at the top, is a given.

You know

what interesting spices
can we solve into this thing?

so, it's, it's, fairly
a ridiculous amount of music. Yes.

I, I don't know,

it's hard to even see the end.

Oh, yeah.

It's 801 bar.

Of, Well,

obviously I was I was
I didn't have to develop the Sherlock

material anymore because I knew what
that was from the first movie be.

This was literally trying to develop
this idea of the adversary,

you know, and,
and where this was taking us and the I,

you know, I mean, that's why it becomes
very Germanic and, and faces and they

and I, I allowed myself to be,
on the one hand, far more symphonic

and on the other hand far more quirky,
because we got away with quirky

the first time around. So

it seemed like a,

you know, a sequel should be all about
pushing the boundaries as opposed to,

you know, narrowing it.