I try to keep myself as blank and as unprepared as possible until that moment, ... I have to get my head into his head because it's not strictly about my own tastes and instincts. It's a collaboration.
You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie
You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
What Brian laid out was something that felt really uneasy and bordering on feeling like I was on a boat or something. So I went with that feeling.
Sometimes you get real close, sometimes you don't. Sometimes they drive you crazy. I think every composer does that. That's a big part of the job.
Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission Impossible would be the exception. That would be a reconstruction- deconstruction.
It sounds really stupid, I hate making cosmic comments like this but, I just let it do what it wants to do.
In Tim's films the tone is the most important thing that the score can do. In any unusual film, finding the tone makes such a big difference.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
I'm looking for a feel and I have to find what that feel is before I can move on from there. I'm not necessarily catching stuff in such a simple way - I don't need to. So, I'm going for something else.
I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.
I like creating these rhythmic patterns. These interlocking rhythmic things are really fun.
I don't see myself necessarily having a burning desire to write a symphony.
Having ten melodies was also a huge challenge, because I usually have three - sometimes just one or two, but often three that I'm using.
But, really it was finding a kind of a vibe and letting that vibe carry the movie. And did I bring anything new to the mix I don't know.
Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.
I'll just start laying out the melody exactly where I want it to fall. And then I'll go back and fill it out. Whereas, in other pieces I'm really just going a couple bars at a time.
I'll do it very quickly and spontaneously. I expect that it will be slightly strange and bizarre, but catchy at the same time.
And the alcoholic bastard waved his finger at me, His voice was filled with evangelical glee, Sipping down his gin and tonics, While preaching about the evils of narcotics, And the evils of sex, and the wages of sin, While he mentally fondles his nex
It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.
But, when it comes to all the other little instruments, of which there's a lot in the stuff I've done the last couple of years, I do it all myself.
It was a ragtag street ensemble, ... Literally, we'd pass the hat. I learned how to breathe fire. I learned to play the trombone. I was a street musician for years.
The whole process we're talking about is quite easy, ... I just hope people realize this was done using real sets and real lights.
You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar.
That still has to be there. And so, it's kind of an interesting question you brought up. Because, on the one hand, yeah, it'd be lovely. I certainly don't see that happening. In fact, I see the opposite happening.