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What is slightly misleading about what
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we're doing right now, you know, you
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know, it's like it looks a bit like a
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real studio, um, or something like that,
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but it's just a computer and a bunch of
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screens and a couple of not very good
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speakers. So we we can just pick this up
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and you know off we go. The thing that I
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don't think works is to try a movie to
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try to make a movie if you're not in the
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same town as the people. I don't think I
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think you you never get the subtlety of
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the conversation if you try to do these
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things over Skype or any of this. Um
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the the the hardest thing I mean I the
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hardest thing I think we ever did was
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um on inception
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we were supposed to record the score on
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London and the volcano in Iceland blew
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up so we couldn't you know the planes
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weren't flying which wasn't actually
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strictly true. We could have gotten to
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London but we were worried about not
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being able to come back. So, we used all
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technology at our disposal. I mean, we
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literally put um more cameras than you
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guys have right now. We put I think six
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cameras in amongst the orchestra. We
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miked the orchestra in a way. I had um I
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had control over the talk back from here
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so I could speak to them. And we knew
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all the players. So if I heard a voice
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asking something in the orchestra, I
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knew it was Mary the basis or somebody,
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you know, because but during these
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sessions starting at 2:00 a.m. our time,
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watching them take their lunch break at,
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I don't know, 6:00 a.m. our time,
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watching them file out and it was just
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brutal. And and you don't get the
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communication, you don't get the
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subtlety, you don't get the music
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happens in real time.
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and performance happens in real time and
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even the slight delay just it just
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throws our natural rhythms off. So and
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and I think everything that we do is
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about communicating with each other. Um
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and the I mean it's just it's just the
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way I like working is I like I I like
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making the direct the director and the
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editor be part of the band.
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Um, look, I play a computer, you know,
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the editor plays a computer, you know.
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Uh, so it's not about that. It's about
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the conversation. It's about
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feeling what, you know, and and and
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instantly feeling what they're feeling
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when you play them the piece of music. I
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mean, again, it's this thing about you
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need to listen, but sometimes it's not
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even with your ears. You just need to
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feel what they're feeling. They don't
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need to say anything.
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It's really amazing what what happens
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how you can
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start with a piece where all the notes
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are played well and it's all you know
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it's all musically correct
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but the emotion isn't quite there and
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you can work on that. I mean, you can
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really work on that and you can really
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get that to blossom and suddenly you get
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these moments where it is undeniable
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that the story is being told in the
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correct way, that everybody's on the
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same page, everybody knows why they're
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playing the note. I mean, um, it's it's
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a weird thing when you have a when you
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have a large orchestra,
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you know, the front row is going to be
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playing exact and passionate, etc., you
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know, and the, you know, as it goes down
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the line, it might not be your best
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players. That doesn't mean they're not
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necessarily technically proficient, but
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they might not have a great tone or
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something like this. And my ear doesn't
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go to the guy who plays the loud wrong
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note. My ear always picks up the one
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person who doesn't quite know why
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they're playing the note. They don't
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know what story to tell. So, there's
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like an indifference in their sound. my
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ear goes there and and I know, okay, got
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to have a bit of a chat here, you know,
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and and and and figure out how to how to
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encourage and help and get everybody to
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understand what what it is we're trying
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to do. And and the great thing is about
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these musicians, I mean um
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they are so, you know, they are so used
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to storytelling with their instruments
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that they get it.
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directors are envious when when they
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come to the orchestra session because
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you know there are 100 plus people
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sitting there
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and first of all they're not chatting
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they're paying attention and imagine you
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have a scene with 100 plus extras it's
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you know it's quite hard to go and
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wrangle them you know I mean it's close
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to 100 plus puppies or something
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sometimes but here here these people.
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They're sitting there and you can tell
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them what to do and they will they will
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do it beautifully. They are experts at
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picking up their instruments and making
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a beautiful sound. If you want a
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beautiful sound, if you want a scary
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sound,
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they could scare you to death. So, you
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you have this each one of them is a is a
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complete expert. Um, and they're experts
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at being human beings at expressing
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humanity. So
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figure out how to get that, you know,
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figure out how to get yourself some of
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that. Get that out of them. I mean, that
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that that's the part, you know, and and
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Okay, here's here's a good one. The
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thing you're doing is you're making a
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recording. You're not doing a live
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performance. At the beginning, I used to
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get caught out all the time, you know,
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sitting behind the glass looking at the
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fabulous orchestra and there's passion
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in their faces and the bows are doing
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everything and the guys are hitting
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things and it's looks so exciting
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and two days later I'm listening back to
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it and it's really boring. We're making
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a recording. We're not doing a live
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performance. And there's a big
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difference between making a recording
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and doing a live performance. And it's
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there is something not bad about not
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actually getting seduced by the the
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smiles and the energy and the bright
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eyes, you know. So listen listen to the
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thing, you know, and and help them to
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make the best recording as opposed to to
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make the best theater play for you.11569
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