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You. Part
of the problem is when you use something,
2
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you know, as simplistic
as a two note device as you.
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You don't quite believe in it.
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You think you're supposed to do more.
5
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You're supposed to write
a big heroic theme.
6
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But anything we tried in
that always led us back to this.
7
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and so that's
8
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when we finally figured out, yes,
those two notes will work.
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I mean, we we we had all sorts
of other things playing over the scene.
10
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We tried.
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this is when we found our movie.
12
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I think I think it very much defined
13
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not just the style of this movie,
but it defined the style
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of how we move forward.
15
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I mean, had it not been for the scene
that, you know, the joke
16
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stuff would never have been done that way.
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It's just it's we learned we can get away
with the barest minimum of harmonic and,
18
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you know, tune.
19
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We didn't need a tune to go and play this.
20
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I had written a more heroic
21
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and more developed Batman theme
and a more to me, obvious one.
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And Chris actually really liked it, and
he kept saying, can't we use that tune?
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And kind of,
can't we put that tune in somewhere?
24
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And I kept saying to him,
25
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I don't think the character is
26
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I don't think the character's ready
for that tune in a funny way.
27
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And I was hoping,
that maybe he'll never be ready for
28
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for for the obvious, hero tune.
29
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Chris kept coming back to this,
and finally I said to him,
30
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just it's just it's just not in his eyes.
31
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and it was just,
32
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you know, it's just that communication,
I mean, figuring out how to.
33
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I had a feeling about something.
34
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My director had a feeling
about something, and,
35
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you know,
it wasn't that, like he acquiesced.
36
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It was just, you know.
37
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Oh, he saw what I was going for, and
I just couldn't figure it out in words.
38
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And that's.
39
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But I think in the long run, it was worth
40
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both of our while that we kept coming back
to that conversation.
41
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You know,
how much had the character development?
42
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How much had he not developed?
43
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The French horns for Batman.
44
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As for French horns on the right foot,
French Schultz on the left.
45
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And that up in a gallery up way
above the orchestra in this church.
46
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So that's a whole bunch of microphones.
47
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because part of what you want,
48
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I want that a geography of where they are.
49
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So there have to be low microphones,
and they have to be high
50
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microphones that capture some of this.
51
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Then you have the orchestra,
which is basically playing
52
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tunes, long notes,
whatever they're playing.
53
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but not rhythmic parts
because the rhythmic parts
54
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I wanted to have really, really,
really super precise.
55
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So all that to get, to get to get to get
to these ostinato patterns.
56
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They were all done separately, which
57
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seemed
like a really good idea at the time,
58
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but it was painful and I thought,
hey, wouldn't it be interesting to have
59
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something that was above the orchestra
so that rather than just doing
60
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3D or, you know, not
61
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just do surround like this,
but truly try to try to impose
62
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some idea of height into this thing,
you know, at least have a go at it.
63
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You know, sometimes it doesn't
actually matter if the audience
64
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really hears that's.
65
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But it just helps me to think through
66
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the architecture of what I'm trying to do
by going, well, you know, okay,
67
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so the Batman signal is going to be above,
and that little motor is down there.
68
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The orchestra, you know, the,
percussion is really up in your face
69
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just just to, to,
you know, create a sort of a sonic stage.
70
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and, you know, and I actually know,
71
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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
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from each other and just just the way
they play up into the dome.
74
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that's a that's a great thing
that happens to the reverb
75
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that starts coursing, and the notes
literally fly over to the other team.
76
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And, you know,
when they play the other note,
77
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something in the middle, it becomes
the release of a gorgeous chord.
78
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So yeah, it's the height thing was
79
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the conceit.
80
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But the
81
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the way the chord is formed by using
the building is not accompanied.
82
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I mean, that really happens.
83
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For the microphones are angled down,
the orchestra sitting down,
84
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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
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There was an endless heroic theme
that just went on and on and on and on
88
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and I kept
89
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thinking, that's not
that's not the character.
90
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The character is right
at the beginning of the movie,
91
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the child, Bruce Wayne, as a child
92
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sort of is, you know, responsible.
93
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Not he's not responsible.
94
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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
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At that moment, he freezes and time.
97
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It's like Arrested Development
because partly
98
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what I'm concerned with is
99
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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
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I have to legitimately buy into this and
to legitimately buy into this, I have to
104
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make up some outlandish theories
that I believe.
105
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I have to believe in the character.
106
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and one of the things which which
107
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I kept thinking is this, that.
108
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He, he I mean, the reason I ended up with
109
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just two notes was really that.
110
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It's like, what is the next?
111
00:07:49,129 --> 00:07:52,132
He stuck his his life, you know,
112
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he can never become.
113
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He could never become that heroic.
114
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He's not. He's
115
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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
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That's that's, you know,
120
00:08:21,661 --> 00:08:23,746
that that's story elements about my mind.
121
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Isn't that my my mind keeps gets
122
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getting stuck.
123
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And this, this little nagging motif
124
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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
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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
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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
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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
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to have a very efficient way of saying,
oh, this is the Batman movie.
141
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This is it.
142
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So, you know, when you hear.
143
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It's it's nothing, nothing special.
144
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I mean, like like a
145
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10 million composers have used this,
146
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but it's sort of I'm quite purposeful.
147
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I'm quite deliberate about it.
148
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and I think when you hear it,
you know that it's Batman.
12246
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