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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:47,380 --> 00:00:54,345 You. Part of the problem is when you use something, 2 00:00:54,595 --> 00:00:58,182 you know, as simplistic as a two note device as you. 3 00:00:58,933 --> 00:01:00,267 You don't quite believe in it. 4 00:01:00,267 --> 00:01:02,686 You think you're supposed to do more. 5 00:01:02,686 --> 00:01:05,272 You're supposed to write a big heroic theme. 6 00:01:05,272 --> 00:01:09,568 But anything we tried in that always led us back to this. 7 00:01:10,486 --> 00:01:13,322 and so that's 8 00:01:13,322 --> 00:01:17,576 when we finally figured out, yes, those two notes will work. 9 00:01:17,618 --> 00:01:21,914 I mean, we we we had all sorts of other things playing over the scene. 10 00:01:21,914 --> 00:01:24,082 We tried. 11 00:01:24,082 --> 00:01:26,668 this is when we found our movie. 12 00:01:26,668 --> 00:01:29,630 I think I think it very much defined 13 00:01:29,963 --> 00:01:32,924 not just the style of this movie, but it defined the style 14 00:01:32,924 --> 00:01:33,925 of how we move forward. 15 00:01:33,925 --> 00:01:38,013 I mean, had it not been for the scene that, you know, the joke 16 00:01:38,597 --> 00:01:41,475 stuff would never have been done that way. 17 00:01:41,475 --> 00:01:47,689 It's just it's we learned we can get away with the barest minimum of harmonic and, 18 00:01:50,650 --> 00:01:51,359 you know, tune. 19 00:01:51,359 --> 00:01:54,362 We didn't need a tune to go and play this. 20 00:02:07,292 --> 00:02:09,294 I had written a more heroic 21 00:02:09,294 --> 00:02:13,131 and more developed Batman theme and a more to me, obvious one. 22 00:02:13,131 --> 00:02:18,136 And Chris actually really liked it, and he kept saying, can't we use that tune? 23 00:02:18,136 --> 00:02:20,680 And kind of, can't we put that tune in somewhere? 24 00:02:20,680 --> 00:02:23,641 And I kept saying to him, 25 00:02:23,641 --> 00:02:26,644 I don't think the character is 26 00:02:27,270 --> 00:02:30,356 I don't think the character's ready for that tune in a funny way. 27 00:02:30,356 --> 00:02:34,402 And I was hoping, that maybe he'll never be ready for 28 00:02:34,402 --> 00:02:37,780 for for the obvious, hero tune. 29 00:02:38,197 --> 00:02:41,701 Chris kept coming back to this, and finally I said to him, 30 00:02:42,076 --> 00:02:45,579 just it's just it's just not in his eyes. 31 00:02:48,874 --> 00:02:49,542 and it was just, 32 00:02:49,542 --> 00:02:52,545 you know, it's just that communication, I mean, figuring out how to. 33 00:02:52,545 --> 00:02:54,338 I had a feeling about something. 34 00:02:54,338 --> 00:02:57,341 My director had a feeling about something, and, 35 00:02:57,383 --> 00:02:59,844 you know, it wasn't that, like he acquiesced. 36 00:02:59,844 --> 00:03:01,178 It was just, you know. 37 00:03:01,178 --> 00:03:04,640 Oh, he saw what I was going for, and I just couldn't figure it out in words. 38 00:03:04,640 --> 00:03:05,391 And that's. 39 00:03:05,391 --> 00:03:08,811 But I think in the long run, it was worth 40 00:03:09,311 --> 00:03:12,523 both of our while that we kept coming back to that conversation. 41 00:03:13,148 --> 00:03:15,526 You know, how much had the character development? 42 00:03:15,526 --> 00:03:17,444 How much had he not developed? 43 00:03:31,625 --> 00:03:34,628 The French horns for Batman. 44 00:03:35,420 --> 00:03:39,549 As for French horns on the right foot, French Schultz on the left. 45 00:03:39,841 --> 00:03:44,179 And that up in a gallery up way above the orchestra in this church. 46 00:03:44,387 --> 00:03:47,390 So that's a whole bunch of microphones. 47 00:03:47,599 --> 00:03:50,602 because part of what you want, 48 00:03:50,644 --> 00:03:54,022 I want that a geography of where they are. 49 00:03:54,064 --> 00:03:57,734 So there have to be low microphones, and they have to be high 50 00:03:57,734 --> 00:04:00,737 microphones that capture some of this. 51 00:04:00,820 --> 00:04:04,783 Then you have the orchestra, which is basically playing 52 00:04:04,866 --> 00:04:06,993 tunes, long notes, whatever they're playing. 53 00:04:06,993 --> 00:04:10,038 but not rhythmic parts because the rhythmic parts 54 00:04:10,038 --> 00:04:13,124 I wanted to have really, really, really super precise. 55 00:04:13,333 --> 00:04:17,337 So all that to get, to get to get to get to these ostinato patterns. 56 00:04:17,837 --> 00:04:19,672 They were all done separately, which 57 00:04:21,090 --> 00:04:23,968 seemed like a really good idea at the time, 58 00:04:23,968 --> 00:04:27,889 but it was painful and I thought, hey, wouldn't it be interesting to have 59 00:04:27,889 --> 00:04:32,059 something that was above the orchestra so that rather than just doing 60 00:04:33,102 --> 00:04:35,146 3D or, you know, not 61 00:04:35,146 --> 00:04:39,317 just do surround like this, but truly try to try to impose 62 00:04:39,317 --> 00:04:43,154 some idea of height into this thing, you know, at least have a go at it. 63 00:04:43,613 --> 00:04:46,574 You know, sometimes it doesn't actually matter if the audience 64 00:04:46,574 --> 00:04:47,450 really hears that's. 65 00:04:47,450 --> 00:04:50,411 But it just helps me to think through 66 00:04:51,078 --> 00:04:54,165 the architecture of what I'm trying to do by going, well, you know, okay, 67 00:04:54,165 --> 00:04:58,544 so the Batman signal is going to be above, and that little motor is down there. 68 00:04:58,586 --> 00:05:03,674 The orchestra, you know, the, percussion is really up in your face 69 00:05:03,674 --> 00:05:07,803 just just to, to, you know, create a sort of a sonic stage. 70 00:05:09,763 --> 00:05:12,850 and, you know, and I actually know, 71 00:05:12,850 --> 00:05:16,729 but what does happen as well by having the French for French Hobbs. 72 00:05:17,563 --> 00:05:20,566 you know, the whole width of a church apart 73 00:05:20,566 --> 00:05:24,528 from each other and just just the way they play up into the dome. 74 00:05:25,028 --> 00:05:28,574 that's a that's a great thing that happens to the reverb 75 00:05:28,574 --> 00:05:32,494 that starts coursing, and the notes literally fly over to the other team. 76 00:05:32,494 --> 00:05:35,080 And, you know, when they play the other note, 77 00:05:35,080 --> 00:05:39,251 something in the middle, it becomes the release of a gorgeous chord. 78 00:05:39,751 --> 00:05:42,754 So yeah, it's the height thing was 79 00:05:43,130 --> 00:05:44,131 the conceit. 80 00:05:44,131 --> 00:05:45,924 But the 81 00:05:45,924 --> 00:05:49,636 the way the chord is formed by using the building is not accompanied. 82 00:05:49,636 --> 00:05:52,639 I mean, that really happens. 83 00:06:02,941 --> 00:06:08,613 For the microphones are angled down, the orchestra sitting down, 84 00:06:08,613 --> 00:06:12,700 the microphones are slightly above them, and you get a sense of place. 85 00:06:12,700 --> 00:06:14,202 You got a sense of perspective. 86 00:06:21,918 --> 00:06:25,004 When nine tapes in the house are working on Batman. 87 00:06:25,046 --> 00:06:30,009 There was an endless heroic theme that just went on and on and on and on 88 00:06:30,009 --> 00:06:32,720 and I kept 89 00:06:32,720 --> 00:06:35,598 thinking, that's not that's not the character. 90 00:06:35,598 --> 00:06:38,601 The character is right at the beginning of the movie, 91 00:06:39,644 --> 00:06:42,647 the child, Bruce Wayne, as a child 92 00:06:43,231 --> 00:06:46,442 sort of is, you know, responsible. 93 00:06:46,442 --> 00:06:47,943 Not he's not responsible. 94 00:06:47,943 --> 00:06:51,739 But part of what sets his story on his fate 95 00:06:51,739 --> 00:06:55,618 into motion is that he wants to leave the opera and his parents get killed. 96 00:06:56,077 --> 00:06:59,538 At that moment, he freezes and time. 97 00:06:59,747 --> 00:07:02,750 It's like Arrested Development because partly 98 00:07:02,833 --> 00:07:05,628 what I'm concerned with is 99 00:07:05,628 --> 00:07:09,381 how do I get an audience to suspend 100 00:07:09,381 --> 00:07:13,218 disbelief that a man would dress up in a Batman outfit? 101 00:07:13,260 --> 00:07:15,679 Right. So I think that's part of the job. 102 00:07:15,679 --> 00:07:19,600 Part of the job is to, legitimately, 103 00:07:19,600 --> 00:07:24,980 I have to legitimately buy into this and to legitimately buy into this, I have to 104 00:07:26,023 --> 00:07:29,234 make up some outlandish theories that I believe. 105 00:07:29,234 --> 00:07:31,403 I have to believe in the character. 106 00:07:31,403 --> 00:07:34,865 and one of the things which which 107 00:07:34,948 --> 00:07:37,951 I kept thinking is this, that. 108 00:07:39,036 --> 00:07:41,955 He, he I mean, the reason I ended up with 109 00:07:41,955 --> 00:07:44,958 just two notes was really that. 110 00:07:46,751 --> 00:07:49,129 It's like, what is the next? 111 00:07:49,129 --> 00:07:52,132 He stuck his his life, you know, 112 00:07:52,340 --> 00:07:55,343 he can never become. 113 00:07:56,595 --> 00:07:58,346 He could never become that heroic. 114 00:07:58,346 --> 00:08:01,099 He's not. He's 115 00:08:01,099 --> 00:08:03,685 he's stuck in that one moment in his childhood 116 00:08:03,685 --> 00:08:06,730 and and everything just circles around that, 117 00:08:06,730 --> 00:08:11,985 you know, he can't have a proper grown up relationship. 118 00:08:12,152 --> 00:08:15,155 He can't he can't become truly heroic. 119 00:08:18,491 --> 00:08:21,494 That's that's, you know, 120 00:08:21,661 --> 00:08:23,746 that that's story elements about my mind. 121 00:08:23,746 --> 00:08:26,916 Isn't that my my mind keeps gets 122 00:08:26,958 --> 00:08:29,961 getting stuck. 123 00:08:30,503 --> 00:08:34,006 And this, this little nagging motif 124 00:08:34,006 --> 00:08:37,218 that goes all the way through this, it's like this little clock. 125 00:08:37,218 --> 00:08:39,178 It's just driving them forward. It's like the, 126 00:08:40,137 --> 00:08:41,264 you know, 127 00:08:41,264 --> 00:08:45,351 which is a good with guilt, innocence, I don't know. 128 00:08:45,559 --> 00:08:48,521 You know, and and, 129 00:08:48,688 --> 00:08:51,440 so, so, 130 00:08:51,440 --> 00:08:53,734 the, you know, the Hulk 131 00:08:53,734 --> 00:08:58,531 to, to try to contain the whole character literally within one phrase. 132 00:08:58,531 --> 00:09:00,324 It's, you know, it's very official. 133 00:09:00,324 --> 00:09:03,327 And because I can. 134 00:09:04,203 --> 00:09:04,912 Expect, 135 00:09:04,912 --> 00:09:07,915 especially if you do a movie about origin, 136 00:09:08,249 --> 00:09:12,086 which The Batman Begins obviously is, and you don't see 137 00:09:13,003 --> 00:09:15,589 the Batman character, 138 00:09:15,589 --> 00:09:19,468 you know, he's not wearing the outfit until Real fall or something like this. 139 00:09:19,968 --> 00:09:21,261 So it's a setup 140 00:09:21,261 --> 00:09:25,474 to have a very efficient way of saying, oh, this is the Batman movie. 141 00:09:25,474 --> 00:09:26,308 This is it. 142 00:09:26,308 --> 00:09:29,311 So, you know, when you hear. 143 00:09:35,484 --> 00:09:37,986 It's it's nothing, nothing special. 144 00:09:37,986 --> 00:09:40,030 I mean, like like a 145 00:09:40,030 --> 00:09:43,033 10 million composers have used this, 146 00:09:43,408 --> 00:09:46,119 but it's sort of I'm quite purposeful. 147 00:09:46,119 --> 00:09:48,413 I'm quite deliberate about it. 148 00:09:48,413 --> 00:09:52,334 and I think when you hear it, you know that it's Batman. 12246

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