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The piano we built for this film "The Homesman",
the problem with this is that is out on the element,
and it's destroyed.
But I think it's a noble death for a piano.
Wind is a great feature in the film
and we think it will be great to be able to adjust the wind.
Sounds really amazing.
This is the fun part experimenting
You know, you are looking for this item is out
One interesting thing that happened
is the sound journey through wire
faster than travel by air,
so you get this reverse echo, which is very cool
You don't even need to put it effect on the sound at all.
I mean, you can hear it all the way down in the valley.
This is more than just a concept doing something cool
that has never been done before. This is more fun.
Death of the Samurai here, on the hill.
When you hear "Rocky"...
Everyone in the audience knows what happened
Composer is a storyteller
Music has the ability to shape and in some cases change
or even subvert what filmmakers are communicating.
Score is the heart and the soul of the film.
Movie music can make Interesting scenes are more exciting.
We call it "emotion lotion",
because we can make you feel whatever we want you to feel
This can be done to communicate at a certain level
that they can't tell in the picture
Great movie music can increase.
music always
part of the cinema-go experience,
as far as 1895 when are lumiere brothers
is experimenting in Paris.
In the early days, was right,
music is thought as something
to cover noise from the projector
Silent movies never shut up.
There is at least a pianist in the smallest nickname,
and sometimes bridges between They are theater organs.
There are many theater organ makers,
but that produces the most organs,
and considered maybe the best
is the name of wurlitzer
They show how someone can revive
existing movies if not silent
They also managed to score printed for them,
or they improvise and create them themselves.
They are made part of an exciting experience.
A number of people have played games
with the idea of score Hollywood
Max Steiner score for "King Kong" in 1933
is a landmark.
When "King Kong" comes out,
"Wait a minute. Orchestra music in a movie?"
the only reason he can do it
because the movie is not scary.
It looks kitsch and stupid,
because of that... It's kitsch and stupid.
But then he put the music into it.
This really changes the film. That makes it scary.
People have not finished that before
That's right first main score
which shows conclusively the power of music in the film.
Alfred Newman came from the new heaven, Connecticut,
an iconic figure in the history of film music.
Sounds favored by horns and woodwinds.
My father is Alfred Newman.
In 1930, he came to L.A.
He was in the fox of the 20th century for 20 years
Fox logo... you can say the most famous logos ever written...
It was not written for fox, it was written for goldwyn and it was rejected
And then he uses it to change and Darryl Zanuck likes it.
There is nothing like the orchestra. I'm talking about rubato.
Meaning "slow down and speed up in an expressive way".
You will never read a series of texts like,
"I went to the market today."
You will have... You will have a phrase structure.
That is very important in music.
They become experts make music.
That helps determine what we know like classic Hollywood sounds.
Spotting sessions are the first time
we all gather, see the movie,
and decide where music will go,
and what kind of music will happen
All films, the first 20 minutes
too slow because we are putting the pipe
So we want the music to be something but not crazy
The purpose of the spotting session is to dialogue
with the composer you have might have delayed
I have done my work, I have done my design,
I have thrown the film, I have shot it.
We have done everything beautiful photography,
we have done it all Our super-brilliant editing.
Now it's past and trying to communicate
what I hear in my mind
Ah, mother.
Mother is our rock.
So it says "open road image",
then we will cut maybe not the front door
but shot before the front door
- who builds a house - Understood.
Spotting, for me, is very important
because it gives me a picture what the director saw
and what he is looking for.
- Something very fresh... - fresh, huh
And then we come here and we slow down.
Type settled on it.
You collaborate with people.
I want them to feel like filmmakers like them
has come into the process
I am the person who specializes in
this one thing they are not comfortable with
You are trying to come with music
which supports the scene and completes in an inconspicuous manner.
You spend a lot of time as much as you can
immerse yourself in the backstory.
As a film composer,
you are part of the storyteller team.
Do you want to spin? progress to the next signal, garry?
- Yeah. - this kind of
ends when he comes round the corner right?
I try to get the sense from what their insecurity is.
More time You spend time with them,
the more you get the answer
Most directors don't know how to change emotions being musical... being music.
So the composer must be kind act almost like a therapist
and go through all these mishmash
from what the director said and get the essence of it.
What if we are like that? right tail to that?
- Yes, right, you don't need to go... - right
- doesn't print him? - Maybe not scored...
Put a little good transition, garry,
that kind of thing just spill.
- And then he appears. - Yeah.
Something like that maybe? Yes.
We got... We got the core of that.
Sort of in the first Conversation with director
I have a glimpse of what it can
Every project starts roughly the same way
Someone enters the room and says, "I have this idea.
This will be fun to do. This will be an exciting adventure", etc.
And they tell you ideas and you are pulled in and you become excited.
And you're flattered that they even consider you.
"Wow, me", you know. "I can ride this car".
And then they leave the room and then you have a moment of reflection.
You go, "I don't know how to do it.
Oh my God."
And then after a while you think
You should call them and say,
You know, "Hey, I thought you John Williams's better phone
I don't have an idea how to do it."
You know, a blank page is always a blank page
Plus, I don't know where the music came from.
So there is always fear that someone will turn off the faucet.
This is a film called "Race."
I've worked for that a week, so I just started.
I only get into my process with that
Where I think should start is... just come.
And I will start with that enter completely silent.
No.
Well, why not?
Do you want to win a gold medal?
- Sure. - Do you want to do it in Berlin?
I mean, unless you plan to wait...
There is a change in direction on the scene
And that is often a prompt for which music will enter
Good, they don't care for them much
In Columbus here too.
Will it be a problem
No sir.
I came here to run.
OK, for the next 28 months,
You are in class, or you are on that track,
every hour, every day
As a composer,
when you sit there are watching a movie,
It's not like watching games or real life.
There is a camera position, there is a cut
This is very artificial medium by the way,
and it's nothing like real life
We must find a smart way to introduce something familiar.
An motif is a group of notes
which might highlight What is the value of the film.
A good example will be "close meeting".
Beethoven is indeed one of the first composers
to really take the theme or motif and spin it out in a very large way.
Belongs to Beethoven "the fifth symphony,"
all of the parts are based on the rhythm of it.
Simple hook, like a pop song
But you then casting them in various lights
By using motives,
This helps you to understand the relationship in the story.
Dear bilbo
When you hear what is certain Motif, you connect it.
And that really helps you follow the story
Nine friends.
When you get to the end of the film,
when you play music in full glory,
it's already familiar to the audience
We are building something to the main one.
Director is not a big fan of
from a strict orchestra element,
so we explore.
Here, this is money.
He is working on a film now is called "the shooter" that we are working on together.
We are a little under the gun,
and that nerve strain
One of the things we are working
this kalimbas processing
This is a simple African instrument.
Next week we will be here quite a bit
I'm pretty relaxed about that.
Buck not
There is a lot of work to do.
That is kalimba you hear.
He follows a mystery to find out what happened
The music needs to be owned little intrigue
I think we solved the puzzle this is pretty fast
When the film grows, in terms of the subject
that they handle and what the filmmaker
they themselves search, the film music itself changes.
It becomes more modern in style. This embraces jazz.
"A tram named desire" The score for the first North Alex film.
And he comes with a history has written ballet
and concerts in New York
and handle the first movie task,
and write at most the revolutionary score of all time
The first film score combines jazz
in the writing structure.
Goldsmith Jerry says when he hears it score for the first time,
he knows that film music has changed
and will never be the same.
Bonds. James Bond.
John Barry is from his own band,
appears music that sounds like early James Bond music.
When he wrote James Bond Music,
he carries a band sensibility for movies
The thing about band music is great, that's cool.
And it's swinging.
Feeling like this is a man who can do anything
You will not hear any film, that is related to spying or secret services
without reference to bonds
I mean, it's already done Things to do,
in the same way as morricone is for western spaghetti.
Ennio morricone
He doesn't go to hit you with music
which makes you leave, "who, what is the instrument?
Wow, how did he do it? that voice?"
But what he will do is just kill you with a melody
"The good, the bad and the bad"
is an iconic piece of music .
You know, he just took it That guitar sound
and just put it the western environment.
That is sound, You know, western spaghetti,
still, 50, 60 years after the fact
And I think that's enough an achievement.
In the 1960s, you had this big period,
where you are extraordinary trained musicians.
Bernard Herrmann has come out dramatic radio
and its ability to take sound,
and make certain types unique orchestra
That specifically for each film is a breakthrough.
Music theme "Vertigo") main title of vertigo,
it is a textbook perfect example
from a score that says "mystery, something is wrong here
Stay away, but please come. Let's run."
That is different from other writers at that time
This is not a melodic idea. These are small phrases
which is circular madness to them,
who works very well in Alfred Hitchcock's film.
It feels like everything Driving forward in a state of pain,
inevitably a terrible way.
Bernard Herrmann, he has a ball
So it's just to do what he does with "psycho" in the bathing scene.
Without music, it's not scary.
You see the wound, You see the process.
As soon as you put music there...
You are stuck in the mindset of this psychotic killer.
Out of the context of the film,
people might just wonder,
"what's the sound? Turn off."
But it's very effective at that time
This really deceives you believe that you see even more
acts of violence in that scene than actually happened.
When you read a book, and that says
"there is this big forest," everyone describes the forest.
None of these forests will remain the same.
This is exactly the same as with music.
You can ask 15 other composers to read the same script,
they will all be different music ideas
One of the things I found was to free film music
is a fact that any instrument is valid,
as long as it makes the movie better
I have about five storage areas
it all filled with music equipment.
At some point, I collect enough items
that when it starts to look like a trash shop,
then the people here do intervention and they take it all.
They scrape it clean, and I just start collecting things again.
That is a piano something like that.
I bought it at a toy store in the center of Beverly,
and I play the theme song to "rugrats,"
because I thought I would never need to play piano again.
It feels like $ 60 dollars. I think, "how much money
to spend piano toys."
So I bought it, took it to my studio, and recorded it.
Then I take it back and get my money back
And now I always wonder, Where is the piano toy
that I wrote the theme song to "rugrats" on?
Often I start cues from playing Other things, not computers.
This is a set bell ring. They are very rare.
There is music in everything. I will take the elevator.
You will be in that and suddenly
the door will be like.
And you are like, "What is that, man?
That's cool, you know? " And you go back to studio
and try to create that sound.
What sound is that? like in the form of music?
So I always try to filter what the world sounds like music.
No there is a name wrong way to do something.
You just have to keep trying, and the wrong way
is the wrong way, arrives in the right way.
This is a little dinosaur in that extinct
and give birth to violins, and guitars,
and many other things. That The construction is quite simple. This is rather suggestive see, at least.
Sounds like when seal plays a musical horn
in a circus or something.
I haven't played that for years.
Now I have the plot, I can imagine
like what can the above melody, right?
This is heaven.
I try to find generals rhythm in a scene
"Mad Max," I spend at least seven months producing a score.
Try this, try that.
Different types of drums.
The drum is uniquely recorded
for "mad Max" only play one.
If you combine all this some songs together,
then you can really, The quality is very interesting
from this drum play with
and they are quite aggressive, I am a big fan.
It really makes, you know, is quite different
Some directors of want music
for continuous press shots
Other directors really want long music pieces
who goes to a lot, a few shots at the same time.
These are things that you continue to struggle with
when you work for images.
I don't care what music is, But if I make a song,
it must give me goose bumps, myself
I don't say that to be arrogant,
but if it doesn't hit me in the stomach
as a large piece of music,
I can't expect the audience, there are people there,
to have that feeling touch the stomach.
If it gives me goosebumps, it's very possible it will give others goose bumps,
because I think creeps come for everyone from the same place.
When we are looking for in emotions,
and other types responses to music,
There are many structures in the brain involved Music is so multifaceted, It's very multidimensional.
Different musical aspects processed
with a different system in the brain
So when you are looking for on something,
like melody and tone,
it has been processed with one system in the brain.
When you look at time-based aspects such as tempo and rhythm,
it has been processed by another system
We have several kinds of from physiological responses
that the body shows, and creeps actually just a sign of what is happening in your body
There is a system in the brain, striatum ventral
and nucleus accumbens, specifically,
This is the center of our appreciation.
Things like chocolate or sex, this is a reaction
which we can see involves this structure
So interesting because kind of pleasant feeling
we get from chocolate, dopamine release,
we can see some of the same types activation in the brain to music.
That is a form of art that is technically non-existent.
You can touch the musical instrument,
You can touch a CD or cassette or vinyl that contains music,
but you can never really put your finger in music.
It's just that moving air is a little different.
All the music that is done is providing some structure of this air molecule.
So if a truck passes,
This pushes air molecules against our inner ears.
If someone plays cello,
it drives exactly the same air molecules in our ears,
only in a different place, structured.
And there is something strange
but really, very interesting and strong about that.
But they will never take it our freedom!
That makes soldiers march into battle
That makes people cry.
This can really increase overall emotions
in a way that will make live a movie with its audience
long after the last one film frame
We are doing something here.
We use something from ether
Movie music, and orchestra music in general,
very interesting for neuroscientists
and scientists because great strength for emote.
Movie music is usually something
we are unconscious attention to,
but nevertheless a strong impact on us.
"Remember the titans," music for me
It has been written so it is specific to that.
This is very interesting using music in movies,
This provides a very specific context for music.
There is a permanent relationship, so when you hear it again,
the experience you have in theater is generated.
I never even thought about whether it could be used elsewhere.
Thank you. God bless you
and hopefully God bless United States.
The phone rings.
A friend of mine said, "I was at the convention.
& apos; Remember titans & apos; is playing as hard as a kiss concert. "
I am not asked, which I am not happy with,
But, this is quite interesting the watch is used
for something completely different.
We live in that world Things that underlined.
This is really interesting how does the music
from "remember the titans" evoke what Obama wants
to be like someone walking out as a new president. , = = it's resonant again.
Strength scores in and of themselves are amazing.
When we watch Movies are 90 minutes long,
we produce around 21,000 or more eye movements.
And even though we feel like us has full control
and freedom where to look for it, lots of research on eye tracking
has shown it is actually the film audience
usually look around the same place on the
screen at almost the same time.
One way the eyes can be directed is to a specific place
on the screen is when there is something about music
that matches some characteristics on the screen.
For example, a rising tone with something that is rising.
And a good example is from
"married life" montage from "rising" film.
first time that we see the balloon
who is tied to Carl's cart,
it's very important because the balloon will go
becomes important visual motives,
an important theme for the whole film
We see Carl, and then we see Ellie walks out with a parrot.
And then the balloon cart goes up and down again.
So it's very interesting to look at the music can be part of the dance choreography of our eye movements during the film sequence.
First representative score,
where everything you see, You hear.
Walk up the stairs.
Romantic kiss
The eyes do the same thing the ears are doing
There are so many decisions to make in the film.
Hollywood is passing a strange transition in the 60s,
especially mid & apos; 60s to the early 70s.
One of the things that is obtained Thrown out is the idea
which is ancient orchestra score
Now there is movement towards source music.
regional music...
Intimate type grouping music...
it's just different. Many 60s
of composers who really know what they do,
who doesn't want to do it it's the old way
Jerry jewelers are truly the most innovative composers
to work mainstream films regularly.
What is amazing about "ape planet"
does he use everything This modern technique.
He applied it again and put it in the drama.
Mixing bowl of metal and rubber The ball is reflected into the bowl.
Just kind of screw with orchestra like he does
and just become so ballsy in the choice
and that's very precise for the film
That will always happen one of the best of all time
science fiction score
"Chinatown" written within 10 days after
Previous scores have been written, recorded, and thrown out.
And this is very interesting that Jerry entered
and he saw the film,
and he immediately decided needed four harps, four pianos,
strings, percussion, and solo trumpets.
Why are four pianos?
I mean, Jerry is just a godfather kind of all this, right?
This is very interesting music Choice, but it's Jerry.
You ask musicians, they may Assume he is the best he has ever been.
When I hear "reivers," I say, "God, this person
- must be 80 years old -" I really think... - Actually!
I think maybe here some 80 year olds
who might write the best score of his life.
And I want to find out who this person is,
and I met this young man named John Williams and I was stunned.
John Williams does not start As a classical composer,
He started as a jazz pianist.
John Williams plays piano on "stories on the West Side."
And he plays piano in "apartment"
Born and raised in the fox system,
he and Jerry the goldsmith, That's where they learn.
Nobody knows the whole the field will change
When we see "jaw,"
if you don't have it that "ba-domp ba-domp",
none of us would know what happened
it's pretty brilliant
And it's almost like crazy experiment
He is a machine, "ba-dum, ba-dum," accelerates.
Ba-dum. Ba-dum. Ba-dum.
Like a train moving forward, this is a feeding machine.
He is as simple as that "I move forward to kill."
The shark doesn't need more. He needs two notes.
First day with Steven, he said,
"what will to play for the jaw?" I go...
He said, "You're kidding."
I said, "You're crazy, this is a serious movie!"
I think he will say, "No, I'm just kidding."
And he will play this a very poetic pastoral symphony.
And John said, "no, no makes a very primal film."
Part of the genius from John Williams
is how he sees music
and how he is Place music in a movie.
John doesn't want music to celebrate red herring.
He just wants music to give a signal the actual arrival of a shark.
Everyone goes, "oh, & apos; jaw & apos ;, There are only two of these notes."
This is not. This is amazing pieces of orchestra symphonies
that happens and it just becomes triggered by these two records.
Only artistic imagination is phenomenal
We are not worthy.
I say, "Oh my God. This is rebirth.
Movie music returns, it's alive!"
"Star War" is made extraordinary splash when out.
Everything about that is very interesting and thrilling
for 11-year-old children who grow up at that time.
They come.
and speak as a whole human generation
I, I think 12 times That thing came out.
So it's very big has an impact on my youth
We got the theme of "star war" locked in our heads as a child,
as soon as we leave from the theater
Music, yes, This is a symphonic score.
But I mean, this is one of the biggest scores may have been written
It is impossible to think of "star war" without Williams music.
The score he did helped the audience
find the classic again orchestral film scores
Spielberg and Lucas can claim many things,
and one of them helps to reintroduce audiences
for that type an exciting experience.
Star Wars change This crap is reversed
That is John Williams that made me,
first of all, realize the film's music could be
of quality and difference is equally great
like the classic my composer grew up with.
There are traditional ones Good and bad ideas,
and how they are exemplified in music.
I like to always go for "star war,"
because there are beautiful ones themes, main themes John,
and then there are love themes
But then there is Darth Vader
theme it's just self-defense and so broad
that you go, "oh boy, there's Something that's not good here."
the right score for the right film at the right time
The 70s era was true John Williams era.
Without music, superman Power is greatly reduced.
Believe me, if you try to fly without that theme,
You go everywhere One step, two steps and down.
Everyone knows superman,
but the Krypton theme that came just before that...
That opening, it's mysterious, It's almost like an avant-garde.
That makes this really melodious two-letter melody.
Almost successful, for me, 10 times more parts.
So that's the way around it pieces with other pieces.
Most of the world, If you play the music
from "jaw", or "star war" or "robber from the lost ark,"
most people know what is
"Raider of the missing ark."
If you hear the melody without rhythm,
You can recognize it.
But if you only follow rhythm,
Without the melody you recognize it good ways
Very simple little note sequence
But I spend more time on that a little musical grammar bit
to get it right so that they seem inevitable.
There are those who are offended, melodious, well-organized themes,
but I think That is only half of that.
There is always a bravura part from the composition of John Williams.
8, 16, 32 bar first. Large theme "raiders of the lost ark".
And then comes section b.
This is less well known, but it's very beautiful.
I always think that's the part he writes for himself.
I think he's brilliant as people feel.
And as popular as the music, He is even better than that.
If it will be easy to enter the phone
Yes.
I like that. The fact is,
seems like is a very natural transition
- Up or down? - up
It might be down.
It can go down one time and then go up.
What does the score need? to do has changed,
because of how the film making has changed.
Let's take John Williams, let's end "e.T."
Where will we go?
To the forest
This is only wide open space for music
Follow me!
When was the last time someone left the place
that opens and says, "I want this to be a music moment
where you only carry it tune home."
I will be here.
See you soon
We have this broad, expansive music by taking off from the spaceship
John Williams, Steven Spielberg decides
that we will go from great music,
reminds us who goes into the spaceship.
We can see what's happening In the story it's very sad,
This is a farewell.
And in the end we hear this code,
this fanfare is very triumphant
It says that we are looking at This is from Elliot's point of view.
That's not a loss, but it's almost like saying,
"mission completed. We have e.T. Home."
In an orchestra, one of the things we love
is a 10 minute break.
But at tens, whenever you are inspired by music,
there is electricity
In "Jurassic park,"
You can tell by the appearance of in your partner's eyes
that you is not wrong,
that you just played something will almost live forever.
Almost everything we do with John Williams is...
We know that it will happen to be extraordinary
We always go sessions like feeling,
"why can't all Sessions like this?"
A lot of time You will choose a studio
because it matches the type the sound you want to make
First church, clear.
This is a building that is here for several hundred years.
You know, this is a church, and I think everyone thinks that all churches are haunted somehow.
We have engineers who have entered Here who just saw that happen.
You know, just the chair starts to spin around This will be a great way to do it excuse me, right?
If it's already a terrible mistake
"That is the ghost that does it That." But no, you know,
all the horrible things that happen here are always based on people.
Usually me.
I've kind of lived in this building since around 1994.
- morning - Hi, David
It was very shabby when George Martin in the late 80s
sort of coming up and deciding this will be the place
to change to the studio.
If you have ever been in a small room a group of people and shouted a lot,
it's kind of choked out space
You know, so you can't really hear anything
because the sound has no place to go
be everything stack on itself?
It's the same in the acoustic space
If we have 110 people in a room,
we have this moving roof panel.
You lift the roof and it gives you additional two and a half reverb
and so, you know, his voice can swim around
This beautiful room with all this amazing reflective surface.
We use up to 100 mics in a session
It all gives you choices how close or how far
You want to feel it from music
This is very different acoustic towards the Abbey road.
Total 86 players today.
So it's good size orchestra.
We are here at Abbey Road number one studio,
which is a big orchestra room at Abbey road
Check, check, one, two, three, test.
Check, one two three.
It doesn't seem like much has happened absorbent material on the wall,
so there are still a little of the living voice for that.
When the orchestra cuts
you really little reverb
The Beatles record their songs orchestral items here,
and then in the 80s it became often used for film values,
so "the return of the jedi" Most of it is recorded here.
Chorus people, thank you for coming
Welcome to this process make "star war".
"star war" _ prequels are noted here
Just wind. 33.
One two three.
The first three "master of rings" films are recorded here.
I know when Williams is like the films here,
he tends to arrange here
and throw like this, far away.
So the choir from like "duel destiny" faces that wall.
Our sound engineer in this film,
ask this layout,
because he prefers in terms of getting the sound he wants
When do you a film composer,
part of the show you gave director and producer
the music they want
But at the end of the day, if they don't like it,
it's not in the film
My crew in the mixing room consists of engineers,
who in this case a man named Casey stone.
He sits behind the blackboard and he operates all faders.
He is the one who founded everything microphone here,
Set a plan for how we will record everything
Next to it is a man named Louis,
and Louis is operating pro tool,
so he controls the clicks that I hear in my headphones,
and that all musicians hear in their headphones
And then he also records everything needed,
make sure they are all labeled correctly
There is a gentleman named John finklea,
he is a music editor
He is the one who wants take everything needed and assemble is not just the version that we use in this film,
but also the version we ended made a soundtrack album from.
Next to it is orchestrator,
who in this film is Matt dunkley
I do all my writing on a computer
The orchestrator takes the file and converts it to an orchestral value,
score it I can do from,
and which parts can be produced and given to all musicians.
And they don't need to see all other parts
Great. Truly.
Move?
Yes. Ready?
Different cities, different influences, different rooms.
In London, they usually play in a soft voice.
In Los Angeles, they play with a stronger voice
I work really hard.
You know, and I have a team It also works hard with me.
It takes a lot of to get to this point
Really like your life story,
use images as vehicles
to show humans that you are.
That was menajubkan.
Doing a score is something that every ordinary person does.
Not so Composers don't have meat to go there and do an orchestra, many of them do it.
But this is often more important for them to be at the booth,
listen to what orchestra is playing,
and sit there with director
to find out how director Feelings of what he heard.
Let it play.
If you talk to John Powell, or Hans Zimmer,
they will say they prefer to enter control room, don't do,
because that's where everything has eaten Through, they have more control.
I mean, basically, we all happen after the same thing.
We want the best results,
best performance for movies
Many composers like being in the booth,
so they can get closer to the director
But I personally feel I get the best performance when I'm doing my own music
Good morning!
This is a movie for Paramount. This is very fun.
John has done great, oh my god, what is the score
So without further ado, our composers and conductors,
John debney
Good morning.
We will start out with 5m1v3
Let's make some sounds.
One two. Two.
Read good Read good
Sight-reading musicians, studio musicians,
really extraordinary type.
Producer or filmmaker, they say,
"Well, how many days do they do it? have to practice this?"
And I said, "no, that's it. They never saw it before."
And they go, "What is it?"
There is an technique to be able to read,
to be able to freeze as part,
as a studio orchestra of sight.
24, we are faster immediately.
When you are writing music,
You are writing letters for players.
You give them a set of instructions on what they should do.
And if you do it right, then it must be a love letter.
And that... should be so show again,
"I know your instrument. I know who you are."
You have lots, many players try to play the same tone,
but no one can.
Everyone is turned off by micron of percentage,
who gave it the chorusing effect
If everything is consonant and perfect,
Music will... This will be terrible.
I mean, this will be like putting completing etta James.
You know, that will happen take all souls from it
And honestly that's why we have...
Why is the orchestra? sounds beautiful
If there ever was a time
where I can't to get at the assessment stage
and work with 90 musicians, I might do something else.
Working with live musicians, That's what I live.
Standing on the podium,
and give downbeat to a piece of music
you have spent long craft.
And hear it for the first time,
I think it's like seeing your child for the first time born.
Joy, emotion from what it is,
it's true Everything is for me.
Pretty darn Good
That is the true power of from the orchestra
and I think that's why...
That is why I think that will never disappear Certainly it has been transformed and will continue to be transformed,
but I think in the heart, um...
This is rather the most human element
and the most emotional element we have
Let's go from 20 to the end of 48
This film has a lot of music
This is an action movie, This is a tentpole movie,
so they tend to be more wall to wall.
You know, "Jack Reacher" has about 60 minutes of music.
This is around 110.
You see the ad board
before you finish do a movie
You who drive pass it thinking,
"But the music is not written."
The scary thing is going down to the subway in New York
and I'm halfway through and see your name on the poster,
and say, "Oh my God," you know,
that... I have a long way to go in two and a half weeks. "
the more expensive movies get,
they let you know this
You know,... occasionally, you know,
instructions will go down by studio
that you know, everything goes up this and you are better, you know, whatever.
So this is not necessarily inspirational,
it's just terrible
Complexity puts this matter together
is now very large, and the pressure is very large.
Our Studio
We rolled near half a billion dollars every time we take a single film
Do you know how many you have to make?
Every movie you make should be in the top 20 box offices of all time.
This is crazy.
I only think about the complexity of the whole business has...
Has brought complexity to art form.
In the film "Armageddon," I do,
I really got an hour from Jerry Bruckheimer
with countdown clock, count until our day is finished,
and it's in front of from me at any time.
Deadlines can be frightening
The schedule in this film is so accelerated,
it is at another level as a whole professionalism
It's been around six hours so far,
we have another three more hours.
Guess what,
six clicks to bar 29
Yes, you have to go up half step, I think.
Situations like this are very expensive,
and so hard to set
But there is always more than that One way to solve problems.
And you can solve this problem by changing music on this piece,
or you can solve it by changing it music in that cut
Great.
As the film-making style has changed,
the music film itself has changed.
And as filmmakers have realized that, for decades,
um, they have asked for different things
and succeed different things.
What happened in 1978-79?
Someone flips a synthesizer
When synth enters, Actually punk also happens.
And you have this amazing new
extroverted music intelligence continues
Danny elfman He is a player.
You know, Tim Burton, One day he can make a movie.
Who does he go to have that score?
Hey, what about his favorite band?
Yes, love oingo boingo. Who is at oingo boingo?
Who is actually the main songwriter
Who really did... oh, This is Danny Elfman's man.
- Bingo-bango!
I started writing strange but complex compositions.
I wrote this thing called "oingo boingo piano concerto no. 1 half."
Without writing it, I will never do it have taken "a great adventure of wee pee."
Since childhood, is more or less,
Only people who are really curious about who Are entertaining themselves, you know?
Initially, you know, is just the antics of oingo boingo,
and then overall Tim Burton, wee piss.
There is nothing tasteless about Danny
Thank you very much, crew.
Danny is a composer
who grabs your collar for the main title of the film and says,
"I will take you to the world, and this is the problem."
Danny's biggest strength is
I think he performed the most amazing little short music ideas
which then becomes great music idea
When he is fully, like, explodes with "Batman,"
everyone's mind is blown away.
"Batman", there is only one template: John Williams,
and we don't want to do that
Again, I have nothing that can continue There are no models of what type of chords,
how you do it, like, a darker score It's still fun and has energy.
And I realized what I was trying to learn from Bernard Herrmann years before,
there are only one rule
There are no regulations.
Boo!
He can talk world of great orchestras
very uber contemporary world,
and he did it very smooth.
And you can hear his voice, his personality.
Thomas Newman is one of the composers
it's very difficult to sort from describing what the sound is
Like Danny Elfman, Thomas has developed his own voice.
First score I work with it
is "Shawshank Redemption."
The music is very tense and unique and he has a clear sign,
This is like an watermark on everything he does
That is a timeless piece of art, "Shawshank."
My name is Lester Burnham.
When viewing American Beauty,
and I hear Thomas Newman's first note
in the first frame of the film... I think it's marimba that you heard.
This really sets the tone of the film,
puts you slightly unbalanced,
lets you know that you are in for a bit strange,
offbeat take on American life
Great thing about Thomas Newman
does he successfully capture how to make uncertainty,
so never... Never been too committed,
But the music is good this great character for that.
He will generally, in cues,
he will build a key center
Things will start to weave in and out around it, around the baseline.
It creates a kind of texture that lives behind the orchestra.
When the orchestra enters, it becomes part of the texture.
Well, that language just doesn't exist
That... comes out brain Thomas Newman
Thomas Newman belongs to Alfred Newman
youngest child
Yes, that's how is trained playfully
and he can write great orchestra score,
but sometimes the film he is working on it
requires something more intimate
Often times You can get a mood,
valid and fair mood slap to image
and let sit for two minutes
Everyone rips it. Every one.
They think "this is a movie Music, this is the way I do film music.
Here's the way I do that."
And of course the has been copied and copied,
but he...
He was there at that time
to introduce something new.
It's very difficult to sit
and do it with cold emotions single piano matters
Because he has perfected it.
Mtv is on air.
What videos do they first play?
A song titled, "video killing radio star"?
If you look closely, you can see it Hans Zimmer in the background.
Hans brings unusual things rock swagger, okay,
to score a movie.
There is brutality about the way
played by the orchestra. There is a violence, if you want.
An aggression
There is intensity about that, a intensity about how the writing was written,
an intensity about how it is played
Single female voice from Lisa Gerard in the film,
above visceral strength orchestra...
Really impacts on the audience
I will see you again.
But not yet. Not yet.
We have this idea. It must be a woman's voice.
Why do you want women? sounds in a gladiator film?
The next day we enter, and there are hands in the wheat field.
And the shot lasts for a moment.
If you have written it in the script
it will not even be successfully shot.
Why are you holding your hand? in the wheat field?
The only way that shots can work is because of the music,
because of Lisa's voice.
But it's kind of giving a license for the rest of the film
to be a little more poetic
and become a little more expansive
Really, I think, increases the whole experience,
and that is in the form of Hollywood sounds for years later.
Now we in the Hans Zimmer era.
It only weaves above everything.
This is why is a revolutionary
Hans takes the strings and makes them like guitars.
They play rhythm.
And that's really interesting thing.
I don't think anyone has really done that
"Pirates." It's like Led Zeppelin.
This is like freaking led zeppelin played by an orchestra.
What Hans Hans has definitely done to "Dark Knight"
obviously blur this line
between these giant symphonies sounds and electronics
and you are not so sure where one end and the other starts.
The type of light, repetitive ostinatos string
You often hear it.
It's just that this constant pulse continues.
Very strong
Very interesting
Hans Zimmer is still... He is a legend and still
becomes more legendary.
End of Iinception ", It's like a new morning.
When he comes home, he will go to be reunited with his family
for real, in fact.
You are led in one direction like that alright
Hans Zimmer scores really soaks you in waves
Then the music just piles up.
The camera presses and you go with the big question
Wow, music adds a fair amount a little here
We have finished the last five years, six years
where people are not film composers
asked by a director to do something unique.
Like Trent Reznor and Atticus Ross.
And I think this is really good example
where people just really love people
who has the career of an artist the world outside the valuation of films
can bring so much authenticity music and sound to images.
The sound they use is very contemporary
Score them for "social networks"
This is an emotional palette. This is very disturbing the lyrical piano type.
This is human, But it's technical.
It's emotionally dark, But there is a feeling for it.
When David Fincher calls,
"hey, I want you to score my next movie". Fuck it.
"This is a movie about Facebook".
I would have a hard time thinking about it something that sounds less sexy.
And we shuffle the deck
Trying things that aren't feel intuitive
Speaking of changes in temperature of a film
and emotional response from the audience
Radically different.
All films feel different after that
I think it feels a film that is far more important
of type "ah, lecture, tomfoolery"
it can be misled
to feeling with the wrong music there.
And since that time, there are more electronics artists do film values
Electronic, and engineering production
and different ways see music
that often is much deeper.
Trent Reznor and Atticus Ross for "Social Networks".
I think it's really worth it that Trent Reznor
not only got a nomination but also won an Oscar to score goals.
This is really worth it.
When you have an unconventional image with unconventional sound,
as with many things Trent and Atticus are doing,
the result can be really much bigger
than the number of their parts.
What are the net results? From that, you know,
in some cases is a kind of beautiful chaos.
Movie music has changed, is quite radical
Very far more experiments
There is more freedom and invitation artists who will never have
thinking of doing a movie and nobody will think
from making a previous movie score.
And for me it's true exclamation.
Technology has enabled
for each composer to become a producer too.
The point is, though, is a song
For this one is the only sign I feel
we still need to work a little.
It happened at the opening of the film
So, if we can be like this
ukulele of our orchestra, be said,
in very simple... Very like
plink, plink, plink, plink, plink
- like that, yup - That fly, yes
Very, very sweet.
One, two, three and...
Can we do it... okay?
Can we do it so that your nails go above the string,
to be rather dirty.
So you plink, plink, plink,
yes yes.
Cello now
Amazing sound
- happy - I am more than happy, man.
I like being hypnotized.
Yes, yes.
Whoo-hoo!
Humans, these are some great things Beautiful.
I just want to say thank you again because you are amazing,
and what privileges is for musicians,
like myself, have you people play my music
So, thank you very much.
Thank you, heitor
Basic movie music an recording art
Once you have a recording, then you become mixing,
more technology part of production.
Before music leaves my studio,
I only gave it one last last mix
to make sure everything is I want to be heard heard.
Each element is needed some attention
to create the whole feel that you want
So that... it's hers the main little melody
Very simple, because He is a simple man who is evil and evil.
So there is a point where, this is a very dramatic moment in this film.
Until now in music
I don't have every French horn,
so I introduce it.
You might can't even hear it
I can hear them because I know what they play, but...
Okay, so, now it's simple mix it a little.
Every time I play it Right then, they are there.
When I turn the horn goes down,
I don't feel that emotional peak.
Now there is a 50 foot robot running on the highway,
that line is better mixed hard,
If not, you won't hear it You want your intention to be clear
Horns only give such things heavier emotionally.
That is part of mixing, it's just that ensures the elements
You want to reach it from the audience
hard enough to make a statement
And you can't really hope cheerful.
You have to make a bold statement
I think, you know, with "Furious 7,"
people actually react to the film
on an emotional level.
Paul and his character say goodbye.
That's probably one of the most great theater experiences
I've watched the movie that I've worked on.
And that's somewhat crossed real life
You can feel when the signal is working the audience.
That's what I love about film music,
if it's all emotions
I think of seeing the reaction of the audience to the movie you have done
very helpful
That doesn't help you For the movie you just did,
because it's already out In the theater.
But it will definitely help you for the next film
Seeing the reaction literally about how people respond
for your music, it's very cool.
Now often, I will sail forward,
and come back with a creepy and look at the audience
watching movies.
Very rare do I see doing that
Occasionally I will do it see through the audience,
I enjoy everyone watching it,
and then there is one head like in a tennis match
with one person like seeing Right on you see them
and that's not comfortable, and then I leave.
Do you want to make sense how does this work?
Especially on the screen it's really musical.
Do they move people?
Then I do something that's a little embarrassing
I will run to a bathroom stall,
um, and see if they hum
or whistling theme,
and it's amazing how many times really happened
It's like the last one pat behind
For me, I feel like I influence them to a certain degree
that they are unconscious.
It & apos; s cool to get to watch people
experiencing what I experienced
When I watch movies grow up.
And to think that it's alive Outside you is crazy.
I mean, surely will live longer than me
You know, these films will continue to be watched
and that's really cool
One of the responsibilities We have as a film composer,
are we the last person? on earth every day
orchestral music commission
Without us, the orchestra might disappear,
and I think it will happen make a rift
inside, you know, human culture
I think it will happen like a loss to humanity.
We all have this fragility.
We can chat for hours and in a funny way,
I am very safe about this.
I... because I'm hiding behind a job
You will never really find me
But when I play you piece of music,
I really expose myself.
And that's really a scary moment
I love, I love, I like what I do.
Even when I sit there driven by paranoia, fear,
neurosis, you know, pulling my hair out
I still won't exchange it for other things
Very few people Can be inspired every day
to write something brilliant
Whether or not you realize it,
playing music like an important role
in the way you respond to a movie
All your other work in the movie can't do anything
if not get the music right
You constantly have to rediscover yourself
and you have to adapt to very, very difficult soul
Weighing enough to carry on your shoulder,
if you are only struggling and you have your own doubts,
and sometimes, yes, sometimes you hit a wall.
Satisfaction works, yes, that's really something
Movie music is one of the great forms of art from the 20th and 21st centuries.
There is something about what the film composer
bring in with their intuition
The unique ecology, the combination is unique
This is what makes film music So strong, very mysterious,
and may not be denied for us as scientists
When we cut "Titanic", James sends music
like him... Because what I want to do is sketch
on synthesizers, with the synthesist,
what I want to do with an orchestra.
So I'm used to getting sort of new ideas in.
So I sat there cut one day
and a disk entered which says, "sketch."
I think, "oh, okay, here it is for the sketch scene."
I just glided around until I found a place
which seems synchronous with good scenes.
Very serious.
There is a kind of downbeat piano
I just used Leonardo's eyes appeared
and see directly on the camera.
When critical from eye contact
between them While he pulled it,
and then, boys, it really flows.
So, I'm very happy with that, I call it,
I say, "listen, this works well."
I installed it into the sketch scene
and it works fantastic
And he said, "oh, no, no, no, no, that's just a sketch
It's just a piano sketch a melody
We can drop it anywhere." And I said, "But that works beautifully in this place.
He said, "really?" I said, "Yes, complained here here."
So, he came, he said, "Oh, it works pretty well . "
He said," Okay, Well, I will arrange it. "
I say," no, no, no, no. Only piano. "
He said," Well, I know the best pianist in the world
I know... He is outside London. "
I say," no, that's you, friend, that is you