Thomas Newman, Alan Silvestri, Hans Zimmer, Steven Price et al. | 2013 THR Composer's Roundtable

music has the ability to instantly connect viewers to the heart of a film join The Hollywood Reporter as we sit down with the creative forces behind the year's most celebrated scores on this episode we have Hans Zimmer of Rush and 12 years of slave Thomas Newman for saving mr. banks henry jackman for captain phillips Steven price for gravity Christophe Beck for frozen and Alan Silvestri for the Croods welcome to The Hollywood Reporter round tables the composers [Music] [Music] all right gentlemen thank you for being here and participating in the thr roundtable series this one looking obviously after composers my name is Kevin Cassidy and this is my colleague Julie Halpern in case you guys don't know each other which is probably impossible at this point I'm gonna go around and this is mr. Christophe Beck mr. Hans Zimmer of course Alan Silvestri Tom Newman Steven price and Henry Jackie welcome come in the last year of all the projects you've worked on what was the what was the biggest hurdle the biggest challenge you faced well we all have to deal with temp scores and and music that gets put into the picture too very early stage that filmmakers fall in love with and I'm frozen there was a particularly unusual situation of this type where the production designers for the film on a research trip to Norway came back with a pile of cds of very obscure Norwegian music of all kinds one of which was sung a beautiful rendition of a basically a Christian hymn but with a lot of Norwegian stylings to it and it sounded very authentic and when they when they first played it for me and they talked about how much they loved it I was quite terrified because that's so far outside my field of what I what I'm comfortable with is just not my expertise and after trying you know bringing in a Norwegian singer and other instrumentalists and trying to do our own version of it we ended up searching out and finding the original composer of the piece and the original choir that sang on the recording and really Disney would have been happy to license the piece for the film except it had this Christian hymn has the main tune so I ended up collaborating with the original composer and we wrote a new tune that was that didn't have any of those religious overtones and found a way to bring it back in a couple places as well later on the film really integrated into the score all right if we just for a moment not mention Lone Ranger we couldn't actually talk about yeah I was really happy when the you know the two two movies are really enjoyed well I actually went to indeed truly indie movies which was brush and Tropius late and rush was the sort of sort of like a funny homecoming for me because it was there was Ron Howard who more than a direct as a friend at the same time it was taking Ron out of his environment and dropping him in to all the people that I started with which others of the working title crowd and Peter Morgan etc so basically saying to Ron this isn't going to be a Hollywood movie it's not the trailer isn't going to be quite that comfortable let's embrace this and make this indie movie and it was just truly an enormous amount of fun nuta noticed hold position I noticed a two level playing field now my ratty little friend yeah let's see where we off the lip one let's see where we are in five precious time days ago I was with my family in my home now you tell me all this last I'm working with Steve McQueen and just being part of that film I mean it's like you know in a funny way I feel like there's nothing to be said about the music you should only talk about the movie because it's one of those things were very few times in your lifetime are you given a chance to work on something which you think is important and I think Steve made a really amazingly important movie and all I tried to do was be as translucent and as transparent and stay out of the actus ways and you know and embrace Steve's vision did you have to fight the tendency to make the music important no too far no didn't have to fight that tendency at all look it's great when you work with a director who knows how to speak to you now and remember this like like one scene I didn't know how to get out of the scene and he's going imagine you've got some paint on a paintbrush and a blank canvas and you're just letting your paint brush glide across the canvas and the way it leaves the canvas no Kay oh yeah I know I did so so you get Direction like that which is which is great and you know that there was a non-existent budget so the whole movie is forth us making the music and so we could literally set it up in my room just for musicians and Steve McQueen and it was like Steve at being in the band and so it was incredibly enjoyable I wish I could tell you some dreadful story but that wasn't what it was I loved the experience [Music] when I worked on the Croods had been my first opportunity to work at DreamWorks I would say the challenge was sinking my work process to their work process one of the first things that I was presented with was a schedule of review and so it's like well every two weeks we're going to do this Skype session and we're gonna gonna review and so it's shaking their head and yeah so so if you're looking at a graph let's say from your point of view and you have your y-axis in your x-axis the sense of the review was kind of a straight line one block up one block over whereas my natural curve seems to be nothing nothing nothing dude getting snaring terrified and we wind up always you know here [Music] [Applause] they were lovely in their accommodation but it was just very difficult presentation becomes so tough right because you have to almost finish a piece entirely before they reject it take this as a vibe what do you think they can't do that in animation because the vibe lasts about five seconds it's interesting you say that because my sense my natural sense is always right something to a piece of film even in an initial stage initial stage it's like there's and that's what I did I took one of the most challenging scenes and I wrote the whole cue I had a fabulous mock-up of it and they rejected well no they didn't see they didn't reject it they didn't reject it but it was like it was one of those we could faint praise rejection well this was this is all great but it's not bright right okay that's faint praise rejection I know great but it's not right maybe introvert and then and then of course you know in terms of the process everybody now had something on the table and that was valuable and they just like to hear like I'll just write a piece of music which is sort of how I think right the colors are and some people over there might have gotten use that purse I think it might have happened just just might have have two hands we can make that a running theme okay [Music] in saving mr. banks it was probably just time transitions from 1961 to 1906 and how do you follow a character in one environment to another and sometimes these transitions were quick so how did how do you do that and our transition is always a problem or just I think so because they're kind of a self-conscious moment in writing music you know like endings are tough you know like about a brush kind of loosening is it's paint it's it's always it's always easy I think to raise the importance of a scene through the addition of music but it's very awkward to end it unless there's a door slam or a gun shot or something that just takes you right out of it right and I imagine you run the risk of drawing attention to the music what you always do because music is kind of at its worst awkward in a movie I think right I mean so so how do you make it as least awkward as you can make it as kind of the deal so if you're having a transition and then boom you're forced you just you there's a requirement for music so then you you go into a scene and then how do you get out and are you getting out in 1961 are you getting out a 90s exec responsible is not a word we made it up well unmake it up [Music] I I remember on one DreamWorks movie I had this I had this the idea you know I just was so sure of it and as soon as I played the first three notes of that idea okay I'll tell you I was it was a a horse in the wild before humanity got there so I thought how great it's a Western guitars as soon as you hear a guitar it's the most human sound you can solve here I'm going out this is all wrong so I said to Jeffrey I'm really sorry it's all wrong I think it should be an abstract electronic house go on I think okay fine so so for about six month I'm doing this electronica thing and it's getting more and more boring and one day he just came by and he said is it me no thank you thank you yes all right one thing that I feel really lucky to have learned from hands is the discipline of going don't panic about if you look at the cue sheet you're gonna see a number that may say a hundred and eight don't don't look at that right now because in a panic you could go right quick let's get real one up and let's just start writing music because if you calculate the amount of days left we have to go straight away because you you're tempted to think it's a linear process which ties into our Allen saying that actually if you can which is what you're saying happened on the Croods if you can just stop for a second and find what the thematic material is the the speed with which the rest of it will happen will actually be exponential but you just things it's rough changes that like the first step I always talk about you know if you've got eggs you can make omelets so it's all very well having like a frying pan with oil in it but if you're not cracking an egg in it you're not going to get an omelet so unless you have the actual eggs you're just gonna be writing music that my wife has a an expression for this part of the curve when you know you're just getting more and more terrified someone will say well did Al ride today she'll say well no I think he was cleaning his sock drawer and so the cleaning the sock drawer is this hole lacks the lack of the y-axis the other thing is to you know you don't know when the eggs are gonna come to you yeah that's you know it could take a day it could take three weeks I mean hopefully not longer than that but you know if you have if you have to deliver the score in five weeks you can't spend half the time you know like I'm a chef and you know I know some really good chefs sure and so what you do is the first thing you do is you go oh what's fresh and you know what you know what are you my ingredients and I spend forever peeling potatoes and carrots ever but I know the guests are turning up at eight to eight I throw it all in a pot and it's like full right but the amount of potato peeling and recurrent chopping and crying over the onions that I do is far far strips the time it actually takes to write what happens when there's no eggs so you know an egg and you go back to your spice rack that's the whole idea of the whole idea of sampling and making colors is that it inspires you in another direction if you're fearing it would come in and bringing all them having musicians and and and you know having a dialogue and collaboration [Music] gravity it was a very experimental process because I had a director who freely admitted he didn't like film music and the canvas where kind of film you didn't work anyway you know cuz you've gotten Europe in space there's no sound in space so anything you would normally do for an action film say which percussion and noise all these things that are basically gonna cut through against all the other sound design that there normally is in the film I had none of that so all of a sudden all of these normal tricks and techniques Vegas okay I was curious watching the film if you know because they say right up in the very beginning there's no sound in space but there is sound in the film which is an actual literal sound was that you yeah I mean they made a very clever decision early on that the sound that you would hear the sound people would do was based on vibrations so if someone was wearing a suit and they touched the table they they would you would hear that vibration through the suit so that's basically low-frequency rumbling everything else was this music thing and they wanted it to be a very immersive soundtrack so you know all of a sudden you were you were looking at how to take the audience up into space with music and you know it's very atmospheric and there a lot of layers and a lot of movement and that sort of thing you know and I always always liken it to when I was young and getting into records and you'd listen to the great records okay so you listen to Pet Sounds or something it sounds weird it's a really strange record for the first five minutes and then you get into it and then you can't imagine anything different and the idea that a film can have a unique sound and it takes you a while to get into it but it's all of these decisions have been made for a reason you know and they're all they're all storytelling points really like for gravity all of those sounds are telling the story they're all kind of helping you be in position and that's why the noises work kind of thing [Music] I was interested when Hans was talking about what's the word is translucent very posh word I think the biggest challenge that I probably had recently was in captain Phillips I think because I've done quite a lot of animation or like I spin it all something like x-men with the superhero movie you're being asked to unleash an opinion all over the film and if you did a movie like Captain Phillips which is I mean Paul Greengrass his background is like you know he's a journalist he's very who's obsessed by objectivity they're not allowed a huge theme and you're not allowed you know to color the American Navy with heroism and you're not allowed to make the Somalis sort of obvious bad guys or sort of overtly ethnic I'd write something and think this is surely the limit of minimalism because I think there's one harmonic shift three minutes into the queue so no one could possibly bust me there's being too opinionated and then poor word hearing go it's great it's a bit acrobatic it's a bit about you are sick wow this is is what videos beta 17 knots we have two skiffs approaching at a distance of 1.5 miles with a possible mothership following Kofi Alabama you should alert your crew get your fire hoses ready I'm relaying your transmission now but chances are it's just fishermen the score really illustrates the moral fiber of that film I mean you you aren't making a black-and-white judgment call between good and bad the responsibility of that is that intimidating if you look at like United 93 or Bloody Sunday which Hardy ones seeing he's he's never going to make an obvious film where you there's some sort of morally unambiguous conclusion to everything that's happened so when you see top banks break down at the end in the infirmary you should have all these sort of slightly ambiguous feelings about everything where even though comeuppance has been meted out to pirates you don't really feel like that you feel like you've actually watched a film with two captains and had captain Phillips been born in Somalia he would have been doing what moves he was doing and muzie had he been born in Philadelphia would have been doing what captain phillips is doing it must be hard to stay out of the way right i mean watching frozen there's a lot of music well I think I think animation is a really different breed when it comes to the approach to music it asked the film has to be created whole from nothing there's there's not an actor there giving a performance that's right so so as a result I just I I myself couldn't believe this as I was working on the film but seemed like scene after scene no matter what kind of a queue a music Hugh it was did you seem to be all this room for for music with beginnings middles and ends you know it's obviously a mainstream Disney animated film just from a purely perspective aesthetics and style very different from the captain Phillips you know there's no way three minutes of d-minor is gonna work yeah in fact the opposite was true I thought I felt that it kind of needed more like there was you know there's sort in the back your mind there's a grand tradition of Disney animated films as well that you're thinking about and there's certain tastes and aesthetics that has informed that particular studio and the movies they've made but it really it really felt like there was it was room to do more spend go what do we do I got this you just don't fall off and don't get eaten but I want to help no because I don't trust your judgment [Music] what raised interesting idea for me listen listening to both of you speak was as anyone had the experience where you were working on a film that was not the one the director created you don't know how what what movie he or she is talking about they're asking you to respond to something that's invisible just not that is completely different yeah I mean the movies not working it may be a clue the movies that means you're working on a bad movie most likely right I think it might you know it might indicate that you'll you'll receive signals in a scene let's say for pace and there's always this something in the background in your feedback from the director and it doesn't you can't quite put your hand on it or your finger on it and you'll find out at some point that you know the dog just didn't run fast enough on the day they shot his feed and the director has had a problem with that piece of film from day one and so you're kind of getting this subliminal wish you know can't you make this damn dog going too fast I mean they're so subjectively involved in their film it borders on delusion I can recall some some instances where direct no can we can we could we hit the change in emotion on his face in this moment okay yeah let's roll back and see where that is okay can you show me exactly where that that's what I think picture editors are great I don't know how you guys feel but one of the kind of secret weapons in scoring I think is the picture editor because the directors Biz still in a semi delusional state about the incredible chains of emotion that frame 22 words the picture editor is actually making the film from the footage that's been shot and while the directors busy being delusions okay so what have we actually gotten what film are we actually going to make from the real footage that we have but I guess in relation to what you were saying is some of that is honesty I think if a directors I look I'll be really honest with you this performance and we've gone through everything and there isn't gonna be a reshoot isn't especially heroic so can you do me a favor and kind of which we're happy to do we just want to be let in on yes no you're thinking what I felt like that cute sort of work what and it's like well no because we need that how often are you asked or even like is there an expectation there that you have to fix something actually actually actually what very interesting is about that the Henry hands situation right now is see Ron Howard was supposed to direct Captain Phillips and Paul Greengrass was supposed to direct rush with Ron when we first started we had the Peter Morgan script and we had no money how are we gonna shoot this movie and not do any of the racing can we just shoot it as a as a as a play can we just do another frost/nixon type thing and then then luckily we did get the racing and I didn't have to go and turn up the amp past eleven to twelve but but you know so the conversation happened very early on in a funny way never guys don't really care about the budget I care about working with people who have ideas and who let me have a go at these ideas 12 years of slave it came down to the personality of the director and the color and the conversation with the director and we never talked about notes I mean do do we all agree he's gonna musical notes we never ever say seem major would be would work really well here except if it's alone no I just have this covers like endless conversation last night that E is actually not do be enough go down to see oh wow seems more no yeah do you want your director talking to you in musical terms one you wanted to be one adjective if you want you want dramatic context yeah because it yeah the harmonies become abstract I think if you get into a situation with the director where he's trying to communicate to you as a musician and it's just not working well you just tell him it's not happen enough to know if I have a policy about that you just think oh he has a mental illness [ __ ] my head a little bit your idea was great but you know I also tried this thing I mean diplomacy is you know and if you're working with someone who likes to throw musical terms around and you realize quickly they have no idea what they're talking about probably not a good idea to call him out on it you know just just what what does he really mean [Music] do you guys have the same experience that I have which is when you play your cue back for the first time it's just the most terrifying moment in our lives yeah I just gears down just as nice just kids dance can you hear it differently it just sounds awful yes it's mono yeah it's what a director goes through at a preview you know they all hyperventilate because they're seeing the moon did that happen on gravity oh they'll count as sons I taking a cue and I thought you know you work on these things you think I've got it this time when you go from you and then you sit there and you just know it's wrong as soon as it starts and you kind of get this ascent you're in the company stop it like you know what yeah absolutely I was wrong I'm sorry thank you even in the room Da Vinci Code first five reels stopped it after five years ago okay I know don't say it big I'll start over but you know the reason why I specifically asked about gravity is that it's almost like two scores it was kind of the emotional side of that actually came a lot easier than the the the action side of it because the emotional side you kind of knew where you wanted to be in this case of coloring Zdenek coloring right and finding the tones and getting the the atmosphere right for that the action stuff literally took until the final day of the music mix and we were still tweaking it after you know in the dub and so because it was it needed so many different factors to come together and you were kind of I did a lot of kind of overconfident lying in meetings when they asked and we could only record that and then that we find and I'll make it go backwards and you'll love it no clue if it was actually gonna work but you can't just had to see and then you know cuz a lot of this was you demo it up and you do it all with your sense and that kind of stuff and you get you get a certain way but it just doesn't kind of have the emotional content then it none of that would have worked without it so you had to kind of do enough with the demos that people thought you might get there and then just hope to god you got there really [Music] Tom as far as I'm concerned you've been the guy who's revolutionized harmonic language and films I mean forever and gulp no seriously seriously I can't think of a movie that you've worked on that doesn't have a very very strong stamp on it of us setting your inventiveness and at the same time you tell all these different stories but he's a you know potato they never to be stayed true it's a Tom Newman Scott it seems to be quite effortless how you do it which really annoys me but that's okay the point I'm trying to actually make as music is sort of indefensible your cars in defense but taste is indefensible you can't talk your director into liking something no no you really should like you just listen again what will happen is now you will love it it's just a sentence that's never gonna mean I did actually have this once I wrote this little tune for Terry Malick for fourth in Red Lion I played at Germany's growing or handsome no I mean not memorable that's not a film score that's not okay you know if I go writing away two months go by or something I guess you know phone rings 11 o'clock at night it's Terry and he's humming something's going what is this that's the tune you said nobody could remember oh it's rather good no but but you know I mean defense that's kind of the politics of how of how you present ideas right that that almost it we're all shocked by new ideas and and we're less shocked when we hear them again and less shocked by here than the third time and and I think we all have to somehow give directors of benefit of the doubt in terms of coming to the material and in a weird way encouraging rejection saying yeah check this out this may not work at all but what do you think and being casual in an informal in your presentations make them less inclined to dig their heels in the end to know that you're willing to kind of play ball a lot of it is just is people skills I think so yeah and a look that here's a trick I love you know I kept hearing from somebody nameless this time we shall stay with neighbors you know I am ruining the movie I am absolutely ruining the movie and I'm saying let's preview it let's put it in front of an audience and we're at the preview and it feels completely different as an audience and we get to the [ __ ] the most contentious business a woman sitting next to me I have no idea who she is and she turns around to me and she says that's great okay tell him you know and we get fantastic numbers on the plane right back I'm going so do you want me to change it smug me no don't touch a thing but which wasn't the smug part of me but but the thing it made me think about is there we are being asked to do something new and we're being asked to do something that nobody's ever heard there's this sort of side guys you know it's like everybody needs a bit of time to catch up and by the time we finish the movie all we can hope for is that we are now relevant and current with that piece of music and so even though it's indefensible you got to put up a good fight yeah a movie like Inception does not work well I'm sure it works if people watch it on television but it was designed you know what the whole idea is this the shared dreaming is what we do when we're in the cinema and it plays very differently with an audience really have to trust your filmmakers that they're not going to lose lose heart if you've made bad choices so there's there's there's a risk involved in in going out too early with your ideas no I know I know but yes you know yeah you know it's so high octane and and if the movies not working and the numbers are low they will go to their score one of the few things you can do anything about it no I I remember I mean like that Sherlock screening there were questions about the music it to the focus group you know what did you think of the music did you like it yeah we liked it no I mean did you really like it you know and then they started really digging yeah I know but I'd rather get fired for a conviction yeah for an effortful effort you know and I'd rather change my mind you know um I mean what I did it on another movie where I was really seeing how far we could push the emotion you know and then I could feel I have overstepped all boundaries of good taste and you know I could go and pull it back I mean I'm not saying this has happened but let's say you're in a situation where you think things aren't going so well and you feel like you might get fired well how do you handle that now it's a massive honor for me day by day Q by Q I mean finite time right definitely there's weave I'm sure we've all had experiences like that we feel I'm on thin ice you know you have to let people know you're flexible again if you come in like the guy who knows what he's doing and this is what it is that that's tough because no you don't put I don't want to be that guy I guess a human being you say okay I'm gonna I'm gonna get out there and if I fail let's let's understand that together and make up make better choices but you have to be fluid you have to trust that the directors are not telling you false things about you know it's okay to fail I've heard that I remember early on yeah yeah we're totally fine and it wasn't totally fine no but you know it's like you just have to get it under your finger you have to get a movie under your finger and it's somehow you know through conversation I mean Steve McQueen keeps mentioning is an interview that I didn't write anything for the longest time and we were just talking and then suddenly dwarfed it was there and that's like that what John Powell sort of made me understand it's like through the conversation suddenly only the right notes can that fit this movie can be play [Music] welcome to Washington Sullivan [Music] what do you consider your personal best score and how did that score translate to box office oh that's so unfair it's probably easier if I get out of the way so I can far fewer films no I think you should stop by our triggers question we are no like of the gravity was that the ones made just in terms of experiences or in terms of the satisfaction of going through this complete blank canvas what we're gonna do and where we got to and all the experience along the way and you know it is hard to separate sometimes the experience from the final product you know you could have a really fond memories of working on something and it may have very little to do with how good or bad the final product is but for me it's a score I did I guess twelve or thirteen years ago now called under the Tuscan Sun which I don't think did very much box office but I had you know it was a great experience I very fond memories of the filmmakers on that film and still one of my favorites my sense when I hear a question like that is is when I go back and look at the the career there were lots of favorites for many different reasons Romancing the Stone was a favorite because it was the first it was a big launch man that was such a it was a big launch but shortly after that was a small movie directed by Kevin Reynolds called Fandango you know I walked into this this project being recommended by Bob Zemeckis who after Romancing the Stone thought I could do anything and they play me the tempt of which it's tempt with the Shostakovich fifth symphony Oh easy and then it just goes and goes and goes and goes and so I had this this horrible crisis I mean it was darkness my wife basically you know did an intervention on we with with the creative people in my life and I I did this Orchestra score for Fandango and I was in front of a seventy-five piece orchestra at Warner Brothers and there wasn't a drum kit in the room and it was a breakthrough and thank God I had had that experience because my next film was Back to the Future which was only the second time I had ever written a piece of music for an orchestra that wasn't being driven by a drummer and you know then look you look at a movie like Forrest Gump where the world just embraces the film and everything about it on such in such an overwhelming way it's it's hard to not you know have a certain fondness for that in your career [Music] do you guys look at box office numbers are you concerned with only through squinting people tell you what you're doing really badly yeah no that's true the fortunately we don't encounter quite the same terror as the producer if you've invested everything in it and when the collegial aspect is fantastic as it has been on many films for all of us it's kind of like the director who has now become a friend it's kind of like waiting to hear what is you know x-ray results work you know you have just a simple interest in his or her health one way to solve the problem is to just do a lot of bombs when anything does well it's like an amazing surprise can I put in a call out of all this cause I've got to say this this is a totally teaser moment that have to get out the way okay so I'm at a ridiculously old fashioned repressive English boarding school where I'm studying all sorts of porch classical music I have never taken any notice of fill music because somewhere in the categorization of posh marries it in my head because I spend all my time playing like Brahms and blah blah blah I haven't really thought about film music and we sneaked down into the kind of senior boys room as a VCR planned someone's got like a bootleg copy of predator on there and so it goes in and it's gonna get busted it's a kind of school where you get kicked out being found and I'm watching it and okay finds the infrared business and okay this thing they gotta take it down and people getting like kill one by one I'm like oh wait a minute this kind of sounds a bit like what's going on with the harmony on this thing and wait a minute so film music actually is quite posh this is some and and and I so can you just read one then shut up we're trying to watch the film on that maybe just rewind in a second what's gonna need to get in front of a piano this and we're and it's the first time are you gonna hate this it's the first so when this thing's finished and and the whole mission it's like everyone Charlie I get back to our rooms before we get by some no no way you got to see the credits and then what's that Alan Alan what and it's like some fuzzy because it was like a copy from a okay I'm Sylvester I'm gonna and I mentioned it to my incredibly snooty piano teacher he was very displeased with the progress of my like dachshund Arnie finger exercises and I would say hey you should check out you know in movies you get that you should check out some of this and he gave some incredibly snobby reply about how I should be sort of continuing to studied abuse here whatever so I had to get out of my system and if I ever had because he were mentioned I mean you've done so many films I would get predator two would go in my book as a it's the sort of film that maybe doesn't add harmonic if a harmonic lurk eNOS I would give it was kind of movies don't get noticed but I got other favorite action the lesson ever yeah parrots are two for me predator to really orchestrating everything you know yes and and and since we're on this topic I tell you what the you know the the one that influenced everything the most in this project well I have a Silvestri moment and that is okay there's a scene in there is over thing walkathon favorite movie there's a scene Romancing the Stone where they're going over the rickety bridge and there's some flute like growling flute alto flute or something it was clear to me I thought at the time that they were just improvising and there's someone when you said to the flute just blow and it kind of was just an inspiring concept because it seemed so fresh going across that bridge that it was a true inspiration process-wise for me well it was completely improvisation and actually that there's a story to that particular cue because I got a call on a Friday night from the music editor named Tom Carlin I had worked in television with and he said I have this film I'm with a director they've listened to all these tapes can't find anything they like would you be interested in trying something absolutely hadn't worked in a year I'll try anything put this guy on the phone hi my name is Bob I have this film there's this scene where this guy in this girl running through the jungle they have to cross this bridge they have to do this whole thing can you do about three minutes of that and come in and see me at 9:00 tomorrow morning at Warner Hollywood so put this little cassette together with a the original Lin drum and the original dx7 with my Japanese manual and a power converter I had no board so I had a mix track by running tracks through longer lengths of cable but that was the cue you're talking about but the sound was Ray pz a reelin ray he was the doubler right he yes he did a classic doubler right he did these incredibly you know wonderfully strange things anybody could do it on the bassoon yeah yeah that's right he was kind of a bassoon call is that right and I believe Ray also did a lot of the crazy stuff and predator where you could put him in a room alone and run a track and it was some kind of combination of animal and yeah but very fresh that that's what struck me it was very very fresh in it we have to wrap it up but real quick I did want to address the shawshank question do you consider that your finest moment would you agree oh it's it's really tough I will always feel like pinpoint you know there's a lot of moments I like it typically always retrospectively because when when it's happening it just never feels good just you always think I'm gonna get fired or whatever but maybe American Beauty only because it was a like a three week four week turnaround from writing to finishing there was no time and I remember finishing up the the main title which was the last thing that Mendes approved after like 16 ideas some of which were a piece of years I think Hans but would attempt into the beginning of that movie no no banjo and and then going home way late at night and seeing all these posters for it was like and then in the days when movies came out like like a week after you finish I know I used to have a billboard waterful of build websites outside my studio or you're working on the movie literally bucket it was terrifying because you got a hurry that's it yeah if they only knew yeah all right excellent I'm decided to say we're out of time thank you all very much this is really great to learn more about The Hollywood Reporter Round Table's visit thr.com [Music] [Music]

Channel: Soundtrack Specialist

Views: 78,876

Keywords: Thomas Newman (Record Producer), Alan Silvestri (Record Producer), Hans Zimmer (Record Producer), Christophe Beck (Record Producer), Steven Price, Henry Jackman (Record Producer), 12 Years a Slave, Rush, Man Of Steel (Film), Frozen, Captain Phillips, Saving Mr. Banks (Film), Gravity, The Croods (Film), Discussion, Masterclass, Roundtable, The Hollywood Reporter (Magazine), 2013

Id: NdXqE-I7KwE

Length: 44min 55sec (2695 seconds)

Published: Wed Dec 25 2013

Reddit Comments

[u/J-Bradley1]

Gotta agree with them.

'PREDATOR 2' has a great score.