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There are a couple of surprising things
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going on for a blockbuster Batman movie.
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I think um one of the things is that
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Batman and the Morgan Freeman character
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are obviously doing the wrong things
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with that surveillance thing. You know,
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they are now doing the immoral thing.
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And then Chris quite
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overtly
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uses the AfricanAmerican um prisoner who
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you know like he shoots him as if he's
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this guy is a really bad guy etc. and
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the other guy on the other side the the
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businessman you know with the with the
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gentle face. um basically turns our
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expectations upside down. That the that
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the big action scene that is going to
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happen right now is not an action scene
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that somebody we don't expect to make a
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a morally correct choice will make a
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morally correct choice. And that and I I
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always I always said to Chris, I love
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that our action scene is about
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the non-event of the bombs going off.
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The non-event, you know, the the the the
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not the expected thing that it's um
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you know,
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you're telling the truth by playing
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against type. And um you know, the other
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piece of baggage that comes with the
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scene is that was Heath Ledger's last
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scene. So
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it's tough to look at. Um
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the the idea is the the scene is full of
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ideas. The idea of surveillance, is it
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moral? Is it immoral? Is is is if we can
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go and save the world by using, you
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know, cell phones and the NSA and all
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that stuff. So eavesdropping on us. is
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that mo you know is that the way to save
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the world or is relying on
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you know s something as simple as the
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goodness of one human being in this case
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a guy who who you know the way Chris has
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framed it the way he's dressed in the
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prison orange you know he's got the
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tattoos he's got all that stuff and and
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and and our instincts are yes he's going
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to go you know and when he goes give me
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that thing you know it's it's is he
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threatening and He's he's the most
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moral. He knows how to make the right
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moral choice. So So the scene is is
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about ideas as opposed to, you know, the
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mathematics of an action scene or or the
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kineticism of, you know, hey, we can
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make this really exciting by by pumping
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a lot of fast-paced music underneath it.
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I'm actually trying to create an
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enormous amount of space which does
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create tension and slow everything down
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so you really take in what is going on.
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You don't want to die but you don't know
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how to take a life.
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Give it to me.
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The me will kill you and take it anyway.
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I don't want you to miss the scene by me
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doing action.
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Fine, I'll do it.
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And that that was really sort of where I
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was coming from when I said to Chris,
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you know, is it okay if I don't write
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this as an action scene?
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Doesn't make any sense for us to have to
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die, too.
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And I understand why Chris wanted to do
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this as an action scene. You know, the,
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you know, the adrenaline is high, etc.
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It's and it's in the in in that place of
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the movie where you would have an action
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scene, you know, geographically that's
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where the action scene would take place,
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but by by actually making it slower than
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what was going on the screen, you know,
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it added far more tension and it it was
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a bit more elegant to do do it that way.
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Give it to me.
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You can tell them I took it by force.
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give it to me and I'll do what you
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should have did 10 minutes ago.
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What I wanted was,
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and now we're getting technical, that
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it's really a big chord.
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And as the
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scene focuses itself, I mean, as the
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story focuses itself, all these
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different notes converge onto one note
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and then split apart again.
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We really should stop this fighting.
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always will miss the fireworks.
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There won't be any fireworks. And here
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we go.
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It took me a while to figure out how to
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do this, which I kept hearing in my
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head. And um you know a a lot of what
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happens at my place is is we but I hear
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something in my head and it doesn't
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exist. We have people like there's a
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chap called Mark Wary um who just build
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me a sampler that could do that so that
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I could literally take the strings take
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all the different notes and just
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converge them into this one focal point
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and do it really slowly. I mean, a part
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of part of what I think people don't
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understand is to play really slowly is
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really difficult. Um, and but there's a
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beauty to it. There's a, you know, I I
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don't see this as
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I mean I it might be dissonant, but to
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me it's beautiful.
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The converge thing makes everything
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unstable until it lands on that note.
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And even that note doesn't necessarily
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say everything is going to be good.
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The scene isn't over yet. Now I'm
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letting the actor do it. I'm I'm sort of
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letting the actor do it and I'm sort of
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letting the audience do it. You know,
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again, that's why even though Chris
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Chris plays the music really loudly and
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there's, you know, um, electronically
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and mathematically something fairly
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complex going on, I still think it's
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it's it's done in a way that that makes
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you think. And I quite like it if you
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don't treat your audience like sheep,
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but you make them think. We work with a
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very good music editor called Alex
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Gibson. And Alex is just sort of uh I
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sometimes like just I just give him it's
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it's like I just give him clay. I just
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give him a few notes, give him some
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stuff and
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weird things start happening where oh
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where I'm going, oh wow, I never would
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have thought of using those notes in
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that way. And sometimes it works and
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sometimes it doesn't. Sometimes it
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doesn't work because it was a really bad
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idea in the first place. But you have to
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go all the way through to prove that it
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was. Sometimes it doesn't work because
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you you're not actually good enough yet
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to execute the intellectual conceit of
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an idea and sometimes it doesn't work
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because the original idea hence can you
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just go and play an action scene is the
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right idea and I don't think we can tell
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until we do it and I think we can't tell
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until you know and and and and the
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process is very different where we don't
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really preview. Um, so it it they're
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made in great privacy, you know, and uh
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people always think we're being
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secretive, but we're not being
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secretive. We're just being, you know,
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by by being very private, we can try
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things like that
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and not let the fear of failure
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cloud our judgment, you know. So if we
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like it, we like it, you know. And um
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why would I want to put something in
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front of an audience that I didn't like?12885
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