All Access: Steve Jablonsky

[Music] hey my name is Steve Jablonsky and I'm happy to be here to talk with kaya about transformers maybe some people know me for that and other things I've done I write music for movies and other song so I'm here to answer whatever crazy questions for me do you thanks so much for inviting in your studio than in chatter you took my juice in person for four for the first time yeah yeah so um to start off I'd love to just talk about you know your background and possibly not kind of growing up what was it kind of childlike and what kind of was the first time that you kind of found you yourself gravitating towards music and do you remember the point where you're like okay I want to grab it J towards still music I think I had a fairly modest background as far as growing up just to parents and dad was a cop who worked the night shift so I didn't see him much so that was kind of unique yeah but yeah I think my first kind of music memory is holding the Star Wars vinyl oh wow you know with the big Darth Vader inside I think it was inside you open it there is and I don't know at that point if I really realized how much like I had the album because I thought Star Wars was cool and I don't know how much I realized how music itself was cool not just the fact that I was holding this thing with Darth Vader's face on it right my parents must have talking I don't remember but that I remember that pretty clearly cherishing that record and listening to it over and over so that you know obviously the music did affect a lot of people and from then on I I should mention that I grew up in Los Angeles and so you're kind of surrounded by movies oh yeah so every weekend as soon as we were old enough my friends and I would go to the theaters the movie theater drive down to I remember must have driven the Hollywood thousand times in my youth to go to the big lizard Chinese theater or whatever you know the big theaters at home and as here yes in arama Dome the National many times so movies have always been a big part of my life and a good friend of mine who was part of that group he kind of went into producing and writing and he was he was that that was his thing when we were he was always like kind of who's directing this and he was into that side of it yeah and I was always at the music side of it because I played clarinet I don't know so I was kind of into music yeah at that age and I collected score we both collected scores but I collected a lot of scores and listened to Williams of course Morricone and Zimmer I was a big fan of all of his early right since stuff that's like it's a big nicer Leon Ito's they aren't there oh yeah is it any but they were directors that oh yeah oh nice if you'll notice I take pride in the fact that all the posters in my studio are from other filmmakers that have inspired me over the years that's not your stuff no I don't want my own posters in my in my studio because I know I know all about those movies I know it's probably not the right thing most composers probably have lined their walls with their own stuff but I like you know like Kubrick I have a poster of his just all these things that I've that have inspired me growing up and did the Leone poster I love that it says I think it says Clint Eastwood Sergio Leone Ennio Morricone those are the only three names on the post and right that's pretty that's pretty cool that's where Ennio gets the poster size yeah yeah on a poster with only three names right now it's like produced by 80 people and but I get off tangent back to your question so anyway I went to I'll make the chart I went to college for initially for computer engineering all right no interruption that was the guy who mixes all my scores very embarrassed now but Jeff figures so but yeah I I even threw all my youth I never thought I want to be a film composer never thought that or music anything it was just a hobby yeah and I was good at math so I I went to UC Berkeley for computer science was my degree and I got up a year in maybe two I forget exactly I always tell this story is kind of boring but I sorta knit I remember the day where we had this programming assignment and I I hated it I did it because I had to but I really hated it and I went to class that day that we had to turn it in or whatever and I had some friends who were all so excited about this assignment and they were like oh how did you do this I do this and I'm like oh my god I said to them you guys should be doing this I can't do this for a living and I bet your heart wasn't in it yeah it was and I have both three guys to thank they were like so excited how are you so excited about this I hate it and this kind of relates back to what I said my father being a police working overnight and he actually passed away when I was very young so what he's already passed away when I was in college at this point when I thought oh I can't do this and I had already taken some music courses because it was already a hobby so I just fulfilled some credits I had already taken them and I thought maybe I'll switch to a music major I had a little keyboard at home you know I I continued the hobby and and I still think to this day and my mom saying and we all we all wonder if my father had been alive at that time would he have said hmm you are not switching you're going to stay I don't care if you hate this computer science stuff that seems like something my father would have said right oh you can keep music as a hobby but you're going to cover the careers are and where the money is right yes he could very well have said that and he probably would have been right at that time no I couldn't argue with him but my mother to her credit said okay if you want if you really hate it that much you can switch to a music major and then we'll figure out excuse me figure it out so that's what I did a night switch to a music major and I think I had a minor in communications or something and journalism huh but uh not too little at but it was very interesting but I just it was something to get out yeah and I actually thought at that point maybe I'll do some recording engineering like Jeff who just interrupted because I had I was pretty well-versed in some of the software the computer software and so I thought when I get back to LA I'll can you do that so I interned a few different places did a few little jobs like there was one job a friend of mine worked at this karaoke place where you don't know if they exist anymore you could go in and say I want to record myself singing whatever the latest song was at that time yeah and they'd have a backing track and a recording studio and you could sing and they printed on a cassette at the time and yeah yeah they have there's one in um students in college dimples are going to hear slows down it was one we could go and do it online all your friends but him at the bar singing right now really live webcam yeah this one was a mold so this one was like way before webcams or anything they were just it was in Westwood you go in and sing and they'd give you a tape and they do a little mix for you yeah so I did a few backing background tracks I did part of your world from The Little Mermaid I did a couple of Little Mermaid just on my Yamaha keyboard I programmed all the string parts and Wow so that's that that was like it's kind of a good learning experience yeah orchestrate or deconstruct something alan menken has done and and I did that with Williams just for fondant I remember in school I would figure out the string arrangements for Raiders and try to program it but so I did all these weird little jobs and then thought my wonder if Hans Zimmer's studio is in the area and maybe they need some help or maybe I could be an engineer their place his place just from being a fan of the music yeah yes you're exactly looking him up together I was really at that point my life really obsessed with all of his scores like green card and all these are made because they were so different yeah the electronic right oh my god yeah it was so good and so I looked up this thing I had a book of recording in studios recording studios I found it media ventures it was called at the time called him up and said yeah I said you need help or do anything yeah and they said yeah come on down and it was a good time because now at that time I don't know if you've been as if you must have been gathering yeah when I first went there in 1996 it was maybe two small buildings yeah 14 straight down 14th Street now it's kind of the whole block whole acceptable block as he should bleeding fingers on the end and yeah that's it it's crazy I don't know 99% of the people that work there but when I went it was much smaller and I think that worked to my advantage because I you know maybe it still I don't haven't been there that's a little bit but I'm sure it's still great but it was just there were so few people there right so the more hands-on learning and yeah yeah and I stayed there I kind of never left my after my shift was just because I loved it so much I wasn't I think that was key for me if any composers are out there watching because I saw a lot of interns come in like oh I'm going to be a big film composer or something like that not literally saying that we until that was the idea yeah I was the idea I just loved what was going on there and I'm like hey can I hang out and just watch I think I annoyed people but but they let me and then that led to that was around the time Harry gregson-williams you know another fantastic composer had just moved to LA from London to work there right and he needed some help and he's kind of fun whilst around picture film Justin le will mind me telling you this but yeah he so Harry I started helping Harry and he eventually hired me but and this was during the time when Jeff was Jessa Nellie was at school still in Berkeley mm-hmm and somebody had already told them when you come back you can work for Harry so and then I just happened to be around and I was working with Harry and he hired me and then I don't know how he found out that Jeff but just ended up working for John Powell's yeah it all worked out yeah it's like you took my job I think so and I didn't know I had no idea what any of this was going I hadn't even met Jeff yeah but later when I found out I felt terrible I always thought just like really hated me I would have blame him but but anyway so I work for Harry and yeah he works over a while yeah several years yeah he's great he was always great to me and taught me a lot I worked mostly on the technical stuff at first all this nonsense although this is way more modern than what I had to deal with but and I think it was just one night I he was helping Hans on the fan that Tony Scott movie yeah and he left and I took a scene just for fun I said can I miss anything hey so I I did some music for it and like the receptionist came in she said oh that's pretty good what is that and I think that may have been when Harry goes okay you want to do that because I didn't again I didn't go hey let me write music yeah it's just I was just screwing up screwing around and so it started with do you want to do this little ten-second queue and then okay that's not bad you want to do this 30 second queue and 2 5 10 minute gear whatever and yeah but that was Harry being generous yeah you know he needed the help but he was also giving me great opportunity I practice and learning it in and then Hannes kind of I was going on in a honza's you know on - yeah that's what's great about now it's called remote control as if you're working there you know Kahn's might just walk in so what are you doing because it yeah he gets he he said get bored and only boring yeah lonely aboard and you need to go bothering around ya hassle everyone else and I uh you know shows up showing what I'm doing and I think the first thing he asked me to do was he did a concert in Ghent I believe it was I remember that yeah and he needed the score for Driving Miss Daisy was a 100% electronic nothing real in the original score so there was never any handwritten notation of notation he said can you do a suite of driving the stadium so that we have so that we can play it live because it was never done and I did that for him and he thought it was great he loved it I remember he brought his wife in and you got to listen to this and I remember she she couldn't count it but but for me it you know I should emphasize I mean I'm sure that people watching understand how like in tenths of a situation that was to have Hans Zimmer ask me to do this yeah by that point I'd known him fairly well but still yeah big moment I mean that's neatcloud not have him yeah and it's his music and I'm trying to do it correctly and yes just I'm all I'm doing is listening to the track and trying to figure out all the notes so I did that for him he was happy and and then he asked me to work on Hannibal that release got film and then pro-pro Harbor was a big one where I did quite a lot of work on that one yeah I think so too yeah Michael Bay well yeah and that led to oh my god this is so long-winded I hope you're the shuttle over here forever and during yeah Pearl Harbor I did a lot and there are two of the disorder before providing the first time you work with Michael Lewis still with Harry oh and he's work arm again a little bit yeah yeah well I was around during the rock but I didn't actually do much other than technical stuff the rock was actually the score that got me hooked into Honda's music oh what got me into films yeah that was like I don't doubt it that score is still legend there yeah yeah but yeah I Armageddon for sure I don't think Michael knew that I existed honestly even though I did write a few cues on that do you did he meet him at all on arm again or he just kind of in assam never i was in the studio i remember he had to walk through my office to get to perry studio mm-hmm you know I don't he probably looked at me I don't think and I do remember one that you picked up the yo-yo that was on my desk and was just kind of doing this while listening to Harry's cue but now I don't my ghosts are all business at a time and just Armageddon was intense yeah that was I've never worked at many hours straight on any film but so I didn't really meet him on that or Pearl Harbor honestly I Wow I because the meetings you know how long is yeah you hear until a composer says right the icons there he was doing with honor and Harry and it yeah so yeah I would I would write in my room and then we don't go listen in Honda's room but yeah the focus was always on Zimmer and you know it should be it but Pearl Harbor because I did so much on that there were two other people who worked on that Bob atomy whose legendary music editor music supervisors as well and Pat sandstone who's a produc and supervisor for was for Jerry Bruckheimer for years I think you work for Jerry anymore but those two guys and Zimmer and Harry were all big advocates of mine I have to thank them every interview I can because at that same time see all these things just kind of happened that Michael Bay was forming his production company Platinum Dunes right the cemetery part ways after Pearl Harbor Yeah right right I'm kind of yeah and so yeah he made a production company Platinum doing dunes which the gold for the the plan being to make all those horror films yeah and the first one Texas Chainsaw Massacre the remake was happening just after Pearl Harbor and Bob Adam II pat-san Stan both told Michael this is a guy who you may or may not know was writing on all your stuffs and he wrote all these give them Pearl Harbor and maybe give him a shot you know because they were looking for somebody to do this very low-budget movie horror movies are you yeah a budget yeah and so I think they just hired me like I didn't have to do anything they just I was terrified of course I still remember the big I wrote it that's court in Zimmer's room he let me use his room for that and I remember Michael coming in and sitting there listen to listen up I was terrified but you liked what I did and I did the whole thing and obviously you didn't if I fortunately and I remember to this day at the final playback we listened to the whole movie watch the whole movie and he said you know great job or whatever these turn to me he said why you did a great job and we didn't pay you or something like that they don't pay you anything because they really didn't pay much yeah but you know I was a young and new guy and I was just happy to do it yeah sure so that was the beginning of I look at that moment of him going you did great and we didn't as kind of the beginning of our relationship even though we had worked on many of his things already yeah he didn't really he wasn't aware of it right but he was made aware of it but because of Bob people like Bob and Patton Zimmer and Harry I'm sure talked as well and I think to do was the island is all a blur maybe the island was right after the massacre I mean that's a big step up and I had some small hordes of bay yeah yeah and he asked me to do that and I said okay and yeah again he he liked what I did and it's just but you also worked on bad boy - oh yeah yeah I just gift over that won't see that was a bit of a mess of a score where Mark had departed and try was called in so did you do more on that when they did like say Armageddon was that more of a good yeah kind of fixing things up er yeah we started from scratch to find that Trevor was definitely the lead guy but I did do a lot and because it was so time crunch yeah I needed two of us and it was just he and I would go to the meetings and with Gerry and Michael and again that was all very intensive still super early in my career I'm sitting there with but I'm running all righty and no but I that's another good thing about Zimmer's place is that it's like you don't there's no messing around like it's very high level of stress and just intensity with these filmmakers you know these are the top filmmakers and they don't they don't mess around they don't get up there at the top third for nothing so I got the witness before I was thrown in to the deep end I got to witness a lot of that stuff just sitting in the back of the room right and that was a great learning experience but so when you came to do the island I'm sure now if you're mirror Billy composer and and of your big action film was it intimidating oh yeah yeah I mean I I was still like terrified and you always at the beginning of every project you always think what you get excited as a period of where I'm really really excited like oh I get to do this and then and then you realize I have to actually do it now I got what do I do at this point out it I think yeah um so yeah it was very scary i bay the first thing they showed me was that opening kind of dream sequence for the island and that's often how he and I work he'll show me one scene that he has and say I can just do something not necessarily specifically for that scene but just be inspired by this scene that is something that he finds important right so I wrote a piece of music which is the piece that's in the opening I remember him going yeah that's pretty cool or whatever he says yeah he never says this is great he just says yes you know loved no it's I think you said it was cool was kind of catchy and and it just went from there and I think I've had good luck with Michael as far as my initial ideas kind of being within the realm of what he's looking everything is all yeah there's something clicking there where you guys have tapped into something everyone loved seeing a director and composer I think I really click and work on it yeah together I know I do as a fan of movies yeah that's like that's like that's really great and to be in that relationship yeah I know I feel very lucky but I keep thanking all these people but Michael of course I have to throw in there because he was he's the one who said I'll give this guy a shot and he kept saying that even with the first Transformers like I didn't assume he was going to say hey you want to do it yeah you'll get Zimmer Oh you know so get somebody more know whatever bigger than me yeah what is this and then I think he said I think he called me one day and just started talking to me as though he had already given me the job yeah and I'm like what hold on so do you want me to do transformers and he said yeah of course what do you think and and I think he kind of did it jokingly like but he's a very big jokester that yeah yeah um I was like oh god okay um and that was another like oh boy and he would throw out stuff like yeah we need good themes you know Spielberg's gonna be part of this and I don't he said Stephen is going to be you know seeing that these themes and he wants you know really majestic and I knew exactly who Stephen was I didn't I didn't need a last name in who I was like oh my god yes yes um so yeah it's just levels of levels were growing and growing and growing yeah and it's all sort of a blur but kind of a long-winded explanation of how he got here today I hope that answered your questions so we kind of led up to I got to work with Michael and and so that's before time by Michael Bay let's just talk about transformers the guys are the first Transformers and that film I mean that was I mean I mean I remember seeing in the theaters I remember looking fourth of July weekend and I used to work at an AMC theater and their own didn't oh we've watched it there and the music I think I think the reason why transformers evicted I think it's honestly because you score I personally think okay so when you first start on that on my movie you know it's a Michael Bay action film and the action is amazing the island effects and everything what was kind of with it as simple of going okay we need big heroic action or how did you kind of find the sound of the Autobots and the Decepticons it was kind of a process for that oh that's taking me back I think [Music] yeah the thing about the first film that you can't you couldn't really get with any of the sequels is that it was all it was stuff we'd never seen before and so I as a film fan and transformer fan I I was so inspired just by all these things he was sending me and even if they were rough images and you know this is all stuff I'd grown up with and then I was actually a little too old for transformers but my brother who's the younger than me was way into it so through him I knew all about transformers and to see them come to life in this crazy way on screen I still remember going like is that real it was like the shine coming off of the reflections it was all so new now it's like ah yeah it still looks great but we're all just so jaded now yeah yeah I'm Dania or at CGI in general it seemed so everywhere it's like hard to be impressed by it but then it was really impressive and I and what Michael said about heroic and majestic and Spielberg and it stuck with me and I I started just by writing a bunch of themes you know I wrote one for the Autobots which ended up being their theme and the Allspark you know this mythical thing I wrote that theme and that's always been my favorite part or one of my favorite probably a lot of favorite parts but one of my favorite parts is writing melodies because it's that's what got me into this lot explores yeah even though I've done some scores that are less melodic but that film because it was also new and there are also many revelations or revealing scenes of what's this coming and there was a lot more room for thematic material and I I kind of just thought I really got to get this right so I was just writing tons of themes and I think they all pretty much ended up in the movie and that easily your process is kind of writing sweeps and this is first and I'm kind of being what's big yeah I learned that from Harry and Hans yeah they do that so yeah it just seemed like it made sense to me it seemed natural to do it that way because you you have to figure out your language first and then you can kind of put it into the right if you don't know you can't like go score scenes I go what what do I do when that person comes in I figured that out yet we had like a bank of themes already kind of like theme fits here that's this character yeah yeah that's the way I think it works best that's why I like to get on films early enough where you can do that I've been on a couple where it's so last-minute you just have to start scoring the scenes otherwise you're never going to get around time that's it you can do it but it doesn't work as well for a narrative yes what I did for that one and I don't remember any specific reason I went one way or the other other than just being inspired by at one time I had for the decepticon thing which we kind of went away from but the theme and there in the first movies that choir piece and it had the choirs so like cha da da da yeah the other exit latin area where I was just kind of I I took I took all of the the decepticon names that I could get my hands on and we split them up by syllable laughs and then just kind of threw all the syllables up in the air and mishmash them so it's made up of Decepticon names but it's just kind of wow so that it's not like mega draw it would be kind of stupid so I don't be dumb that was like kind of the initial idea that would be just desert song gotcha so we just swapped swapped syllables around to the point where we thought oh this sounds pretty cool it's a bit of work but so that's that's what that languages is okay occasionally there were a word there were jokes running jokes would I forget the words but unintentionally there are like funny sounding words in their life and I see cats or something not bad specifically but weird stuff like that but I mean I'm I remember that scene a saint on the roof and oh yeah when the course really kind of comes that was cool that was fun I really had fun doing that stuff I have an all patient City battle I think that's one of them just I mean and the music worked so close to the Edit though that's one of Michael Bay's I think trademarks is that how close I mean when he edits the scenes are you getting kind of are you I know he edits really to the last second but when you get it finished like that final battle whether this already said for you to put the music under did he's a temp track I mean how did he make sure the meat really fits that close I don't remember that if there was a temp track in that particular his temp tracks for better or worse are usually not that structure they're kind of just for pace or he'll which was better for me I don't want him in white it's getting really specific with the tempo here I want exactly this yeah which does happen sadly yeah but he edits with I don't think he would be able to edit without music I think a lot of editors are yeah especially that that kind of action I feel like it's so musically dry yeah but yeah I don't remember that specific scene but I do think the first film was kind of more put together than maybe some of the he's more recent ones where yeah like the last night it was great to work on we had a blast but there were a lot of picture changes right up right up till the end and just kind of frantically in the last few days figuring out how do we like just like we'll get a new picture my music editor angle like goddess it's all landing in the wrong place right what like they took this shot of Izzy one of the character and put it here and so as a composer mean I just tossed a Brian Tyler about those years ago and and he worked on the mummy and he gave an example with that movie change last leg and he wrote he rewrote the entire main character's theme in two days and then on the plane to Abbey Road Davis figuring out how sedate he was appearing 17 places there at the score and they were able to fit it back in but alike so when he went and when something changes like that but I wasn't but how do you keep because I feel like a score is such a delicate thing where you've changed than here this could fall apart you know way as what kind of I guess how do you make sure your score doesn't implode yeah it's a good way to put it it all depends on how much time you've got yeah well III there were a couple spots where I just had to start over I said look just throw it out and we'll use the same idea but I need to we can't keep cutting it we have to just we have to start over but towards the end there were spots where you have to say to yourself okay we can make this work but this isn't going to work or we can make this work but this isn't going to work we have to compromise which sucks but there was literally no time there was no time to rerecord anything for sure yeah and I'm kind of not a fan of doing like sample stuff and doing electronic stuff that patches electronic patches I guess I could say like okay I can fix this part but it's going to be electronic and then it's going to go back into the live orchestra in it it just doesn't sound good yeah so and a lot of these scenes are so chaotic and noisy anyway I'm like there's literally no it's kind of notice but I mean you guys might notice but I should take that back okay you saw relives on the soundtrack on at the time for some people here that's that's why one of the reasons why I released such a long obnoxious obnoxiously long soundtrack for this new Transformers because we had it see so much music amazing and I said I just want to release everything to weigh it I wrote it not the way it's in the film and tonight it's hard for me to watch the film when I just I hear every edit and I know and I think it's fine but you know the audience isn't going oh it was bad me to get it yeah yeah I am yeah and it's it's frustrating I'm not I've never had to rewrite a character's theme and two days before scoring figure out if that's good for Brian I gotta call him on that one but um but ya know he's right that the the last minute changes the fact that they can upload these movies to theaters overnight it's frightening and it allows them to to you know really take it less time for watching I the bonus features I think that the second ones where every premiere had a different cut and what and I do want to buy because ii was the writer strike one and that must have been hell for everybody because the writers are the backbone of every month and you don't have writers and you're working with the director and editors who are good in their craft and maybe not a story structure I mean it wasn't was it hard for you as a I mean how would that be kind of come together with a harder hell maybe is the fifth one or how they're hard in a different way I think they if I remember correctly they started shooting before they had a finished script yeah you know which is not the way to do it but and yeah just figuring out not seeing the end of the third act until way at the end is very is definitely very difficult because that a good film score follows the story and helps the audience along for the ride and follows the emotional arcs and the character arcs and all these things and you try your best to do it right well and shape it well and if it's if this story is constantly changing or yeah shifting and things are moving its editor and I think I think you guys get a lot of the composers in general get a lot of from fans oh this disco isn't this like I feel like if the narrative is not there you're working with what you have yeah and sometimes you can only do so much I think and in certain situations and but yeah I think that's the reason sometimes to get your shaping you need is written to picture right angle let me forget that sometimes it's written for the picture it is yeah what my I never go into a movie thinking this is going to be my show you know I always think I have to help tell the story that's my job I'm not here to sell albums so yeah it is difficult one particularly difficult thing of BAE at up until the last minute was really trying to shorten a little the last night the fifth one and so every cut we would get the scenes would all kind be like this of it shrunk and so and there's so many scenes like that I can't redo them all and so there are several scenes that used to have a nice melodic flow through the scene but now it's like five notes from the theme and it cuts to the next part and then it cuts to the next part so I just had pains me to listen to this because it's not it was so much better before I know it was so much better before but I understand he needs the shortest film yeah so and to him it he doesn't hear it that way he doesn't it doesn't matter where as long as it works for him you know that's you know and I try my best to address all of these things as they come to us but a lot of times we won't even know it like the editors will have shortened the scene and shorten the music and you don't see it's like easy no yeah we're in the or like I'll go to the final two the mixed stage final mixed age and they'll claim me back a reel and I'll go oh my god I did not know you done that to that scene yeah what we have to address it like right there are so many things going on on a Michael Bay film that I can't fault them for not going hasty we change this scene yeah they're dealing with 8 million things on their own yeah as are we so I it was like we can't go through and we get two or three cuts a day sometimes so we can't go through the whole movie and go okay what's changed today okay what's changed again today we can be just in time so it's like these movies are so complicated that they're I mean they're just everything about them is complicated and in terms of action writing they're big bowls and the sound design I think it's one of the bits most amazing things about the film but yeah fourscore is there do you write differently three kind of tones for you because you know you're to be competing with ground effects I mean it wasn't one iconic sound effects narrative is going to do it the tank summer sounds are kind of like now sorry so when your scores kind of mixed into this China action scene which is metal crunching and explosions does that affect the way your source sounds or denote or do you have to go fight for your score in the mix to make sure it's heard or writing how's that going to work I usually because I'm not often working with the final sound effects and I don't know what they're going to be right or the end I start to hear them they start to show up in my in my audio files that I get with the picture but but yeah that's always in the back of my mind I think the good thing is on having done all of five movies the same to both the team but the same two lead guys Ethan and Erik these two amazing geniuses with sound have done them all as well and we've all done all five movies so I know them very well right and they get my music and they will go so far as to pitch their sound effects to be in the same key if it's clashing Wow if it amazing so these guys are going and there was a scene in I think the third film or it's a really emotional scene a slow piece of music and I think it's when the Autobots are being sent away and a helicopter flies over in slow motion and blades you know Michael wanted the blades because it Nicole's down yeah and I remember when we went to the stage and listened to the scene and I said oh my god that's the the blades are actually in time in the exact temple of my music that's crazy and I looked at Erik and he kind of gave me this look like he timed the blades to be in time with my music so that you know subliminally it's not clashing it's not right it feels a bit more natural and I don't know if anyone audience would notice that but all these little things that they do to help things not clash I think really helped and that that's key it's key for composers on movies like this I guess any movie but action movie specifically - yeah get to know your sound designers and befriend them and try to work I had the same thing with the ye statement on deepwater horizon another very sound effects heavy helm we work together a lot it's just a good relationship because it's he these sound guys are doing the same thing I'm doing they're trying to tell the story but just with different tools and right so it all soundtrack is dialogue music and effects and it all has to work together so we all have to work together so I try as much as we can but yeah there is a certain amount of towards the end the result they're always going to be scenes where like oh there's just too much going on yeah because they need to do their thing and I need to do my thing so maybe I'll that's why I go to the dub stage a lot and dub stays on off people though that's where we sit in a big movie theater and mix every little sound every bit of dialogue every bit of sound effect every music cue we mix it all together in a big theater and make it sound as good as we can um and I'll go there and go oh maybe this scene is just way too noisy everybody agrees maybe if we pick out those drums or you know whatever maybe lower that's what we have the music split out many tracks if we just remove this and that's that's why I go there to try to help them Nick oh yeah that's that's not clashing with this anymore and so it's a process you don't really get to fine-tune until that stage again it's impossible to do that throughout you just I just have to do what I think is right for the scene and then the fine-tuning will happen later only uh before we get off Michael Bay there's one of bass tones I really really liked and I think a lot of people here didn't get a painted game I thought it was such a good movie over I thought your score was just perfect for us and I think one of the challenges with that is movie that was I think heart very challenging with tone comes across as these bumbling idiots doing this very good crime and you're trying to figure out do you sympathize with them do you very supposed to be disgusted by that right but your score found this perfect tone whether that challenge to find like a leather dye process to find what the what the music should be for that film it Michael explain the film to me so well that it actually wasn't that much of a process because he he said it's always a challenge to find music that's good and works right but he said to me like that whole Mark Wahlberg theme the opening thing and the main theme of the movie he said the idea is that like he's he's in his own fantasy world of you know of it's kind of hard to explain because he was such a messed up guy in real life but mark they wanted to with the music wanted to convey this kind of fantasy world in his own head of like his voiceover kind of explains it all the beginning like yeah getting really hit hit by cars yeah he wanted this beautiful kind of ethereal sort of perfect world thing that he this guy was never going to attain but that that's what he wanted and he just had this really terrible ways of going about getting it so I immediately understood what he meant and he showed me that opening and it's just this beautiful kind of slow motion and you know Michael Bay visuals yeah get any better that so I just again I just wrote this piece and I remember he said I played it too in this room I think that's catchy he liked that little that little guitar yeah piano thing and that was actually a slightly different process because it I then actually not that different I wrote a bunch of pieces of music but it it was scored almost like a Scorsese movie where it's just sort of different vibes yes almost song like but not there were a few songs but so I just got to write a bunch of totally different style all electronic but different tempos and different sounds and there are a few scenes I score like the dramatic stuff yeah but I just remember as an audience member feeling and it just something I walked away from going wow that was really good because like you were creating this kind of perfect world inside but what all the stuff we're seeing which is so messed up right so you it made me feel very uncomfortable with that which was I think the effect some of the dark stuff we just did a lot of weird noises yeah that was that was a lot of fun and for for Dwayne Johnson's character we bought Doyle and his name was going in a while I think I keep this innocent really he's this big massive guy but he's so innocent and right you know he knows this is not right and so this theme his theme is actually something I wrote as possibly for the for something else and he's like oh that would work for for Doyle I don't think he said that I think he just put it on Doyle and I seen it show it to me I'm like well that works great and like a place is kind of innocents and and the bay does that a lot I like that right I love wouldn't director if I write something for this character frankly and they they take it and put it on that character it works ten times better I'm all for that but but now that was that was a great fun I really enjoyed that film I thought you did a great job I I don't you know you never know what people are going to respond to in the world and how do you respond to that like I will turn the negative criticism and stuff like that you look at it and go it's just people's opinions or do you look at it maybe oh maybe they have a point or do you try to do you read it all you block yourself from it um I think I used to read more I'm not sure I don't you get so busy you don't pay attention to the right but I do think he's you know he's an unfair target he target is very easy target and [Music] but something like if there's something I transformers the last night no there's no critic on earth who's gonna like that you know and I but we know that so and he's making it for this very specific audience who are all these kids who send me thousands of messages on Facebook or Twitter or whatever as I say I loved it at the scene and the when you brought the theme back here and say they're over the moon for this stuff right that's who it's for it's not for anyone else really yeah um but yeah when he does something like pain and gain you go no I I don't know why people didn't respond to that or why I think I don't know what he would have to do to get a critical life positive critical response yeah thirteen acted okay but you didn't do 13 hours no I only went was a digital thing well I was doing Deepwater Horizon and he I'd say I believe he wanted Zimmer to do it and then it kind of was Zimmer Lauren Ryan combo who you know you can't go wrong with either of those guys you know and so yeah they ended up doing it not sure how much does ever actually ended up doing on it but it was involved a little bit but yeah I never saw that but I've heard it's pretty good I don't know big critical response to it but but yeah I think it's just not right it's not that it's not fair one of another director that you already mentioned Deepwater Horizon was Peter Berg and he comes from acting as well as riveting and and is working with some director like that who's complete different experiences working with someone who's with Michael I mean work what kind of directors Teeter and something you've worked with tomorrow like battleship and yeah on survivor deepwater he's some he's great first of all they're both great guys are very different personalities right but they're similar in certain ways I mean when they walk into a room you kind of know the director has walked in but for different reasons I think Pete you can tell he's an actor like he'll because he'll kind of get more more of his director hat on like he's talking to an actor when he's talking to me for instance I can sum up thing he's got a feel like you know who'd give me kind of that like try to pump you up which is cool I like I love working with so any like I've had I feel lucky I've worked with a lot of different direct I lucky that I've worked with consistent directors but I like working with new people but this these to be a director I think you have to be a little nuts to oversee such a crazy thing like a movie that has our 15 you know I'm Annette yeah so I love seeing me how these guys operate and and Pete's very he's kind of just a big personality who's like very emotional and he'll show you if he's mad or if he's love something and you know Bay's a bit more I'll show you if he doesn't like something but if you really like something he'll say that's cool you know he's he's a bit more controlled right um but Pete I think it appealed jump on the couch or stair doing push-ups or something if he's anything like that guy ya know but he's great he's really funny to work with and he's but musically I think they're both kind of similar not that they like the exact same things but they both like they both like melody they both like simple they look like you know and I the thing is I I like that too so right I know that if I write something if I'm not feeling it myself I know a hundred percent if I play it to either those guys they're not gonna like it either right I've learned that over the years to just work something until I think it's good and then play it to them and generally you know you know it's not like I everything's a hit you know things get thrown out but generally that's a good that's a good method with both of them and I love the sword you've done with Sammy battleship and and I thought I love devoted to I thought people were such a great score and I were so well done long-term I would I just think of you it was a mishmash of explosions in the sky so how does it blow was the idea behind that did you kind of come in to score it and then did I know he used it on he's on Friday Night Lights so that's not his idea like no maybe that'll work or that have a Pete Berg idea the Pete's idea initially was to have me and the band work together on the score and I said great you know I love those guys they got a really great sound and I got a call one day from Pete saying look they told the band called me and I didn't take offense to this and I'm not this is not negative towards them and I understand where they're coming from based Pete called I mean take the band called Pete and asked him he said look we just want to do this on our own can we can we do that and he said okay as you know so he called me and said that to me he said look you were up front he said the band called they said they really want to give it a shot on their own and and I said okay now you're the director op yeah thanks for calling in the first place but that's fine and and then they scored the film and later I don't know how many a couple months in I got a call that Pete's like can you come in and come back do some yeah I don't still not I'm not sure what I had heard because the music editor is a good friend of mine and I'd heard there were some issues and I don't know what they were yeah there's issues with every memory so yeah that's that is all the time so he said you might get a call it on now and I got a call Pete wanted me to basically do a third act which is what I did right I did a few things throughout the film but so did you know what they were keeping already and me really all right this is what we're keeping and we have to film to get any much there are a few things where he asked me to redo it but he actually ended up going back to the he preferred the explosions thing which again it's part of the job I don't take any of any yeah yeah but he was probably the challenge for you to try to make it mesh right and something that we were sound hit with what was already there which is that was a challenge for sure I didn't I didn't want the third act to sound like oh my god who stepped in and did this so I I played I got on my guitar and kind of dialed up my reverb and tried to try to at least stay in the in the vibe of explosions you know they've got a very cool sound so I tried my best and but yeah basically I did three or four scenes throughout he wanted me to do and then the third act through the end and so yeah it's it's it's a KO score but not not not the way originally intended right not like they just wanted to do this and they're they're in Austin I think yeah and it would have been I'm not sure how that would have even worked anyway we probably would have done it similarly exactly where I'm doing it here and they're doing there and then I see how to push that okay but I thought that I enjoyed that I was allowed the thing about that film and deep water is that those are both obviously true stories right so you go I go into a film like that always in the back of my mind I think like the wives or the parents or relatives of these people who passed away are still alive I'm probably going to watch this movie right and the last thing I want to do is make it you know Hollywood or anything like a cheesy or so I hope that's why those scores a little more subdued and a little bit more reserved than applets are here and the melody video countdown you drew it yeah I was terrified of doing anything that would offend Chris all these evilness this is not a way to having a shoulders that yeah yeah but I got to meet some of the people involved and it was very gratifying that they liked the film yeah so you're doing the the thing is you've done so many different genres I'm even horror and you've done comedy and you've done action but I feel like transformers did kind of make you the action guy and I've talked to compose about this how do you kind of escape that kind of Hollywood typecasting where it's like oh yeah you did transformers you're an action guy like do you have to work hard to kind of find these other projects that you know that you know that you can do it whether it's something about a parity on it like you would write x the Jalopy do Keanu know what it's like that's a great often thing yeah um I my agents are well aware that I'd like to do you know different things right but it is very hard and I think this goes for anybody in any field in the movies yeah it's just direct acting yeah you get put on a list of when movies come up of this style and they go okay what about those guys they do this pretty well yeah and occasionally someone will show interest for something else and they'll say have you done anything like you know whatever a jazz I have nothing like that I don't know what to tell you I'd be happy to do it but it's it's hard in those situations because they're there they're going out on a limb by saying okay you've never done this before but we'll give you a shot right they you know I don't blame producers directors for gravitating towards people who say no can do the things that they want right but I I branded like for me like I don't I - Jonathan said he 35 years experience like I don't have that but I know I can try yeah yeah that's the thing I I know I could what I was watching a film the other day on camera what it was but it was just a very like the polar opposite of a Transformers film right I know you know I know I could do that and I could do it well but will I ever get that chance probably not but but you know maybe something like Keanu was the director loved he tempted with pain and pain which some of my fans brought if they saw it they probably got honest why does it sound like Bannon game that's the reason and he and I'd patently met him he was a fan and he came to one of my transformers session allow years ago and I don't remember but I hates a great guy so that's how that happened but again even that that was had a lot of action Yannick and it was I think how many scores were it's typical to do an action score to make it seem funnier because the guys ever there they're not action stars better kind of caught it kind of serious situation that was that opening you let the humor be on the screen that the music play it's Syria which is like done I don't know bursting in there yeah right that's all ya know at work you don't want to pick it's the guys are fronting on it came feeling they were funny yeah so they didn't need help with the music oh your highness was also a great score I thought it was a lot fun yeah that's another one that I was like this is such a great movie but you know that's my taste ya know and I thought it was so funny and it was you know just making fun of all those 80s kind of swords and sorcery movies and and we thought you know I don't know after how much of a plan there was there was four sequels but you know they kind of left it open at the end and oh man I hope we make five of these because it's so fun he has working David Gordon Green working with him is fantastic and Danny McBride yeah I mean I was laughing all do every workday it was laughing but that's another one okay people love the music that's great but I wish they loved the movie too and so we could keep doing it right okay everybody but going and touching back another horror genre they did was post horror was kind of really uh needed all this horror remakes crime um so when you're doing these kind of minor tellings of never an L Street Friday 13th and types of chainsaw you look back at the originals and see kind of what was done there and you just try to modernize later you try to give it kind of something new was the idea behind those scores I well fortunately I did have to do because I I didn't have to look back because I'd seen all those a thousand times growing up how they loved horror movies growing up and that's why when I was asked to do Texas Chainsaw oh my god that's awesome yeah so and I didn't kind of on purpose I didn't go back and look I said I didn't want me to influenced I just knew I remembered the feelings and the vibes I got from those movies on that any other so well that yeah that's and I did that myself I'm going to do that myself if anybody you know has any objections I don't care so I was in my studio I spent hours doing that trying to figure out how to make it sound cool no I probably didn't need to spend that long but I was having so much fun I just got which you know I'm putting a delay in processing but but anyway so that you know that for sure we had to use but everything else I just tried to go off the feeling I had and in the film's word modern takes on there anyway so I approached it with a more modern sense and I don't know I had I had fun on all of them they were all films I knew for my youth and yeah cool to be working on conversional in another one of my favorite one of my personal favorites or yours a steam boy I thought alright anyways such a great movie great score and I mean well how did you get involved on that he was doing it Japanese anime film with a cut to hero atonal right and you know forever he's number Kiera and there just wasn't like working with that with that bringing I guess your sound into that world and creative heroic you know old-fashioned reparo feeling I was afraid to have to do more films like that I'll just briefly tell you this it was Alan Meyerson who's a big-time recording engineer mixing engineer yeah he does Honda's coffee the sound producer I forget what it title was the guy in charge of sound for steam boy in Japan this guy K really nice guy he contacted Alan and said we want automo wants a really nice big somatic Hollywood score for this movie and you're the Hollywood guy mixer what what what what do you think and he put this out to everyone at that media ventures I think it was Bill called at the time conscious place said if you guys want to put together demos you know all the younger guys like me and zan Elian and I think we put together a demo I don't know if we actually wrote demos or if we just put things together and sent the CDs but that's how I got that job they picked me out of the bunch N and that was fantastic I remember the chant I remember they sent me the film and I was always a Nanami fan and yeah and but you're only anime until oh no oh yeah I mean yeah that's that is the only one I've worked on others but hang with me as a loser I'd love to do another one but but now that was great to work on such a classic book in here I mean I mean and the teams are so I think when we hear your best name I feel like really transformer things too like a no-no offensive style they're a little bit kind of that subtle thanks I she's kind of building in there um and it was pretty early the other that I'm kind of a crazy South Koreans oh my god yeah people yeah which was I guess it was probably because you did transformers and they wanted that sound but yeah it was that was a lot of fun though I mean the score was a bit yes and saying what do you think when you saw well I think I always the director was such a nice guy is very famous in Korea yeah such a nice person to work with and I think what may have gone wrong and is he he didn't speak English and if you think about someone who doesn't speak English directing a bunch of English speaking act there's a lot of America isn't there there was a lot of I I wasn't on the set but I just got that vibe that they were probably all confused at the time like what did he want us to do so it didn't maybe worked as well as it could have been right but the people made it so and I'm bummed out I wasn't able to go to Korea for the premiere to meet with them or anything but yeah I really wanted to go they were so nice but I had fun again I taught me something early on when we worked on a film I won't say what it is just I don't want to offend anyone but okay he said look the film the film isn't that good so let's just have fun let's just have fun writing good music okay and it was it was his film but he asked me to help write and I was working during the day I mean sorry he was working in a studio during the day I've come in at night work all night he would hand it off to him as he came in the morning and do that and it got to the point where I'd I'd write something overnight and he'd come and I play it to him and I remember one day you went okay so this is how it's gonna be all right so I actually have to write some good music like he was calm playing okay this is actually really good let me alright I'll write something good today and so came kind of a fun game I guess like I have a dish yes or oh yeah and so that was fun and I always that's a good another good lesson he taught me it was just me it's so few films get made that are really good yeah and if you're working on a bad film and you know it and everyone knows it you just still have to power through it and write as good as chords you can it'll be of us have and hope the themes at least help you know a little bit and help not that I don't know just broadcast in Korea want to say D words bad I think but it's one of those campy kind of things I'll knew it so yeah nothing it doesn't trailer itself Mia but but yeah we knew it I'm writing we have everything a very wrong at the oh yeah oh my god you know because I'm a traditional Korean piece and you kind of added your sound to it was such an amazing way to end oh yeah that was fun so kind of looking at your crosses in general not any specific film and I kind of you talked about writing sweets at the very beginning but I was at my dad composers where does the first note come from that that the first thing that my first I mean are you looking at the script are you looking at the first cut of the something any other different every movie but kind of what's the first thing that you gravitate towards that the characters a Matar gaming is there anything you're right that it is difficult film like I've learned that the script is generally not for me anyway is not a great like source of that's right it is I should say that I could write a script so I could write a score based on a script but the problem is if ten people read a script they're all going to see a different movie in their head so inevitably if I read a script it's not going to be what the director makes right and like I read the island script before I saw any of it and I had this whole kind of ideas and the second he showed me that opening sequence all of those ideas went out the window and I instantly had this other idea that I went with and that's what the score ended up being so it that movie specifically taught me kind of like maybe just wait for some images or it images I think are for me personally that's what's kind of the most inspiring thing even if it's just one scene because music is movies are so much about pacing and and the arc of the story and trying to match what the actors are doing and I can imagine it all day long or read it on the script but it's not going to be what I always tell people audiences don't read the script they don't care what's in the script they share what's up their screen yeah and half the time what's on the script doesn't even end up in there any edits or it's different it just changed on set so I take any any information a director once if there is nothing to look at I'll tell the director just tell me anything you have in your head yeah anything you got I'll take it and there's usually something they say like they with painting gay like the what you described is this perfect world and is alright little things like that they send me off and and you know I might not get it right the first time but if that is at least a starting point that me so so yeah it does vary widely with every film but it's it's usually something the director has said or someone has said or something they've shown me or a combination of the two which is Viette because I first note is the tricky one and trying to figure out how the sound and also I think a lot of directors that hire me like they tell me that oh yeah like weird like the sound you'd use and there are I try my best to create custom sounds for every film so that they all have sound a little different right then I have your voices at some point because Arcata than us all right right right yeah yeah I guess thematically yeah but like what to play these themes on or when instruments to use or things like that just come up starting a new film in a few months I don't think I'm supposed to say what it is but I'm already thinking sounds and yeah like what will you try to go to the set look at senta's like yeah I think I will I'm going to go to the set maybe next month they haven't started shooting yeah um yeah to get to the vibe the edges it's always interesting process to come up with something to fit a movie yeah does the sounds and melodies and but it's you know it's it's it's a great job like I can't go away exactly another realm that you kind of got into video games which a lot of people really love your view game scores for Gears of War and and and when and you did nothing Prince of Persia game and so when you started getting into that world with good video games kind of open up something that you're like wow that's something creatively rewarding that I didn't have and film or television but yeah it's it's a different process in that that's going to a fixed picture you're going to gameplay oh yeah cutscenes but like you know yeah the cutscenes the cinematics they call them are the most like what I'm used to doing right as they are scenes yeah but there are scenes that won't change but you're right the gameplay you never know what's going to happen what the players going to do so it's different in that it's a bit more structured like you there are usually very big spreadsheets let's say we need 90 seconds of you know whatever mysterious action music or they'll go group it by levels like this we need a sound for this level the sound for this level or something then within each level we need 90 seconds of of mid-tempo action music and there's a bunch of those and they all have to loop back to the front seamlessly so that play the player staying in one area of yeah yeah they're players really terrible and they can't pass the level ten minutes it has to be able to play and and so that side of it's different and it's fun you know just to write 9 to 2 minutes of action music without having the hit cuts it's fun it's a different experience and ID as a composer know how it's going to you don't know I've been ever being used right because I bet the developers kind of take your muse again scored themselves in a way right in where you can deliver the tools and they like if this is what we asked them for and yeah put it oh yeah talk to cliff Martinez never did a game before you far cry 4 and yeah I don't know how it is I never seen I play far cry 4 it's great has did a great job it's a great select it yeah totally you don't know what they're gonna do with it right um and I think even now I haven't done a game for a few years but I think now that you technology is advanced to a point where they can remember them telling me about this like they were working on things with depending on what players do they can actually start triggering like turn the drums on or turn them off by triggering really specific things within the music which wasn't a thing when I was doing Gears of War or the kind of scoring on the fly yeah yeah basically and like I don't know how they come up with that stuff but so but that probably doesn't change the composer's and maybe it might make it more complicated I'm not sure but regardless you give them stems as you can exactly things split out and they can mix it in however they want but yeah gears was great to work on it's such a big story and he comes and cutscenes were really dramatic and fun and great scores yeah and remain to go right he did laughs yeah yeah yeah yeah he think that I think different people made that game you know they've been moved to a different company I forget who but I heard about you remains a very fantastic one thing I forgot to ask you about it was literally a new career with Desperate Housewives all rot was such a fun thing and that's something that people don't really associate it with but I mean you were behind the score for one of those popular you know TV series of all time and what was it like creating that world it's such a unique world and it's creating a personal ensemble cast like that over the course I was 18 yeah and it was that was fun I'll tell you just briefly how that like how did I stumble into that I did a show called a TV show called threat matrix which nobody will remember it was an ABC thing that was pretty cool but it just didn't catch on and it was an action show as you could tell from the title and ABCs and network and one of those one of the producers on that we became friends he went on to four to produce Desperate Housewives not Marc Cherry his there were three main producers at the beginning of Desperate Housewives Marc Cherry was the creator and then my friend wasn't one of the producers as well and he called they mark wanted Snuffy Walden right because he's you know the little big I am in might post yeah that those are the two TV guys that I the legends and so they got Snuffy Walden and I guess they were having issues like you have an idol they're Kiba Kings that came a point where they said I think we need to change composers I don't know they started reaching out all these all these different producers started reaching out to people they knew right and Michael Elstein is his name Edelstein he reached out to me and said hey what are you doing and I was doing steamboy at the time he says if that this pilot we need someone to do the music and I said I'm too busy I just I just look at it so he sent me the pilot which is amazing that I the pilot Desperate Housewives is so good and I said hold God this is good okay come up tonight at 10 o'clock p.m. I'm going to stop working on steam boy and I'm going to write because you wanted me to write a demo yeah so I'm going to write a demo for this and that's the best I can do and it was the demo that I wrote is the first Q you hear in the episode that I did the first episode idea is actually the second or third episode like a long story but yeah but anyway there was I didn't hear back for months because they were still making the show and I couple a month or two at least and then I got a call out of the blue that Mark cherry had I think he'd reject he didn't know who I was I don't know what that guy and some editors had taken my demo and thrown it into a scene and marks like what is that and he's I was this guy he throws a demo a month ago and so I got a call saying okay we want you to score the first no I was it'll ste Bartek had scored the pilot and that didn't work out I don't know there's so many talented people involved I don't know how things don't work out but ste partek did the pilot episode 101 they want the oh my god blanking on a stewart copeland this legendary drummer and composer they want him to do episode 101 and they want you to do episode 102 and then we're going to pick like oh my god okay so I scored so I scored episode 102 and the first Q in the episode is that my demo I just used it right and then I got a call saying there's good news and bad news good news you got the show the bad news is you got the show and you better get going because we got a lot of odds so that's a that's how I stumbled into that show and but yeah they'll gonna be the next I had no idea not now that was great because Michael and all the producers mark they were all really supportive of the music because it was such a big part of the show hey they think it was Michael who pushed to have live musicians which was not being done at that time as much yeah and so we had a group of seven players who came to the studio every week and we became a family over eight years sometimes certain players couldn't make it so we had to get a fill ins but we had a group that was always almost always there and it was really fun to do it was just a joke around half the time but and yeah I don't again that's all a blur that 8 years it doesn't seem like 8 years but it is crazy that it was it was a very fun show to work on in between like transformers or yeah hell scheduling it was I was that it was hell I don't know you know how to say worse than hell but it would help but the good thing about it was you could work on his transformer I could work on transformers throughout the day and go do a couple scenes teri hatcher goofing off and so so different that it it was kind of a nice thing to do it nice I you know the likes what you're bringing like that to go for intense and then be like I have nice a little bit lighter Connick kind of yeah it did not seem to be that big of a deal just cuz you had to do it me I no choice right but but now I'm grateful for my 8 years on that show it was a lot of fun yeah it's amazing work two units and the TV is intense and I haven't really taken any other TV stuff because it's so the schedules are just crazy that would schedules and films are crazy to write that like you'll get an episode and need to turn it over in three days yeah and then you just got to crank it you know but but the friends asked me to do shows all about people but yeah so kind of between your work and everything what you do to creatively refresh I kind of what are your hobbies like you like to travel so you like to go fishing I mean I know your family just had a baby business and how's everything going to has be grad she's got I love it she's two and a half now she's great she's now if I'm not working that's what yeah having a terrible time to us yeah it is before that way I used to exercise a lot and go my point that wife and I used to go hiking with then just do things that are opposite of studio and crammed inside go dip and go traveling to Europe in all these great places and but yeah now it's it's all about the kid and I don't watch movies as much as I used to I'd like to get more back into that I'd feel that sometimes don't really watch anything and they do you know how to watch what other people are doing a lot of the directors and filmmakers know that I have a very when I was growing up I would see anything everything now I feel like my taste I feel like I'm old far from my taste is like very narrow and what do you watch it now what your TV shows that here you're bingeing now oh let's see the only two shows I really watch our Silicon Valley and like I thought vice-president paradise expensive Vice Principals my great idea yeah my good friend sound good lovely my life I said it was so great yeah oh it's fantastic see the fuse coming up I've been emailing David Gordon Green as a part of that yes and he's going to invite me to the premiere if they have one but uh but yeah there's there's so many great shows and like I seen I saw one episode of Game of Thrones and I my eyes just not for me but I know people are ravenous for it ravenously yeah it's come back to Sunday's yeah I know it's like I can't not get oh I can't get away from it yeah so I don't know that I have the energy or the time to delve into that like homework sometimes a.m. yeah so you started seeing it's like how many episodes are like money so I probably won't cover that one but yeah I'm just I just literally watched the last episode of Silicon Valley a couple days ago yeah I'm behind and gonna watch oh yeah - I was telling you before we started this Twin Peaks I loved the original show or at least up to a point I think I'd stopped watching at a certain point but I watched a bit of the first episode this morning just like really out there and it's exactly what I was hoping for so yeah I'll finish it tonight when my daughter goes to sleep I guess maybe that'll be the next show I guess I'll watch Twin Peaks and then just in time for Vice Principals to come back but yet when I'm working I don't watch anything yeah I mean you don't have time yeah no you bring here here I guess I feel like brain energy you have to focus at a certain place you can then spend it anywhere else no it's overcome and but I do enjoy your films that you put out there and everything all your work that you've done and I just want to thank you so much for your time time and the shadow elements so informative and lightnings algorithmic oh thank you so much super thank you [Music]

Channel: Film.Music.Media

Views: 17,678

Rating: 4.9730339 out of 5

Keywords: Composer (Profession), Interview (TV Genre), Video, Video Interview, Film Score (Musical Genre), Soundtrack (Composition Type), Soundtrack Album (Musical Genre), Career, All Access, Film Music Media, Film, Music, Media, Kaya Savas, Song (Composition Type), Steve Jablonsky, Hans Zimmer, Michael Bay, Transformers, The Last Knight, Steamboy, Harry Gregson-Williams, Armageddon, The Island, Arrival To Earth, Peter Berg, Lone Survivor, Explosions In The Sky, Deepwater Horizon

Id: -9NhmYSkwCY

Length: 84min 0sec (5040 seconds)

Published: Tue Jul 18 2017