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Mean, you.

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First of all, you go

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and look at the whole, you know,
what is the whole movie?

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What are we trying to say here? What?

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And what is the style
that seems appropriate to tell the story?

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And what are the instruments
that are appropriate to tell the story?

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Okay, now we got this big arc.

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Okay? Now we're starting to move in.

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You know, it says something between act
one, two and three.

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So something we want to do
different in act three.

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I mean, I have this habit of setting up

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all these themes that you think
are going to pay off in act three.

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And then I always think there's
some moment that triggers act three.

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But when the thing happens that,

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you know, Gladiator,

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Connor just finds out that his sister has
been betraying him, you know?

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so rather than going.

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And now all these
themes are going to pay off nicely,

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I just go and whack in something,
a completely new theme because it's like,

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you know, all bets are off.

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Everything has shifted.

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The relationship
between the characters have shifted.

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So I just go

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out of nearly nowhere,

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you know, unleash something completely,
completely Indian, completely fresh.

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But it's you start, you start,
and you start going down your

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into the scene, into the dialog, into the,

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into the color

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that you want to use, you know,
because here's the thing.

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If you suddenly stop

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forward momentum
because there's a dialog scene,

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how does it affect
the rhythm of the whole movie?

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If you're doing this,

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you know, it's like being a bad driver
who's forever, like on the cast.

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And then coming off the cast.

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I'm sure you've driven
with people like this.

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You want to smack them.

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All right. so don't be that driver.

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Figure out how to how to keep
the forward momentum going.

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Making a movie as a

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complicated human exercise.

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Because basically what you're dealing with
is you're dealing

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with only insecure people

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at their most insecure.

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everybody's

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worried that what they're doing

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isn't the greatest thing in the world.

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And quite honestly, it never is, you know?

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Otherwise we wouldn't

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need to make another movie if the perfect
movie had already been made.

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So in this environment
of total insecurity,

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sometimes it's really hard to say.

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You know something?

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We don't need music here.

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This scene is perfectly fine.

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You know, the dialog is sparkling
because the

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the the writer is going to think, well,
if I could have

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only had another seven years,
I could have written this line better.

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The director is thinking

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if I had had a better actor,
it could have been delivered better.

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And the actor, of course, is thinking,
if I had had a decent director,

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you know,
I could have done a better performance.

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And then the, you know,
and everybody is blaming the cameraman

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and the sound recordist
because it's too dark.

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and because they're feeling insecure

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about the scene,
they're turning to the last man standing.

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That's the composer.

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And they're going, you know,
this scene needs a bit of help.

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Can we
can you go and put some music underneath

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to make it at least entertaining
or something or the other?

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We need more tension or we didn't quite
get the we didn't get the passion

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or we didn't get the whatever taste
that they feel they didn't get.

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And part of your job is to say,
you know something, it's all there.

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It's right there on the screen.

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It's beautifully shot, beautifully acted,
and I've never heard sound recorded

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in this way
that as beautiful and make everybody

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feel secure enough to say,
okay, good idea.

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No music.

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one of the first things I

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learned is
just because you can hit the cut

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doesn't mean you should,

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For instance, the

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the the ear,
sort of a head of the eye in a funny way,

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especially if you're on a big screen
and you're looking

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it takes you a long time
to travel across the screen

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to see everything and take everything in.

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So it's quite nice usually to be a little

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after the cut or after the event,
or then, depending on how much

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you want to give the audience
an emotional breathing room,

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you know you can be later and later
and make a reaction.

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But but fun and but I get naughty

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and I do really hardcore action stuff.

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I actually make the event happen
one frame ahead of

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you seeing it, and it really you don't.

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You don't quite know what I'm doing,
but it certainly scares

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the bejesus out of you.

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I mean, Black Hawk Down, it's
all done like that.

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Where, you know, because I come
from a super pacifist family,

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so I had no experience of what soldiers
go through.

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So to figure it out, whenever I got lost
because I could,

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I got the real rangers, the real soldiers
from this battle in Mogadishu,

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to come in and stop talking to me
about what their experiences were like.

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And this whole idea that

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a bullet

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just comes out of, no,
an event comes out of nowhere

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and there's nothing that prepares
you for it.

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so rather than

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me knowing it's going to happen

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and not teaching it on paper,
and therefore the musicians looking ahead

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and I oh, at this point
they've got to go and make a big bang.

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I would constantly write these scenes
which would

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have been overlap into the next thing,
and then I would make the event

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a separate recording
and just cut it hard because

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I think we are
so the the is so sensitive that you can

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you can tell the shift in attitude
of the musicians, of

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just getting ready
that they have to play a allowed note.

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And by taking that out of
the composition, literally,

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things come as a surprise to you.

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This is at least how I see it.

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And maybe I'm completely wrong,
but I keep thinking

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the purpose of film music

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is very simple.

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You invite the audience
and you say to them,

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I give you the opportunity
to feel something.

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I'm not going to tell you what to feel.

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That would be patronizing and horrible,
but just the simple fact

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that there's a single note going on

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should just open a little door

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that lets you,
and you get to complete the tune.

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In a funny way, you as the audience,
get to complete the emotion.

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You get to go and complete the journey.

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And so yeah, it's about, you know, very
often it's about getting rid of things.

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It's it's

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that idea of

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Mickey mousing off of imitating action,
which happens easily.

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You know, sometimes it's a good thing
to do, but knowing when not to do it,

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knowing how to react to something,
sometimes it takes the audience

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a moment or two to catch up with
what's going on,

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you know, give them that moment,
let them figure it out,

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you know, don't all the I's

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and cross all the TS, leave some of it

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open.

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Take your audience

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as intelligent human beings

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that have their autonomous emotions
and just for a moment,

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provide the opportunity to feel something.

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Inception was to solve

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a different problem by.

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It was potentially a complicated story,
and it was potentially a story

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where the audience would go,
oh God, I don't get this.

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I I'm out of here.

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You know, and I thought

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if we to

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set this up right from the beginning,
that the music is interesting

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and a little provocative
and a little different, but it's like a,

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it's a, you know, I kept saying to Chris,
it's it's just going to be like a river.

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I'm not going to hit all those cuts
and everything like this.

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and I'm not going to be quiet
on the dialog either.

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But it's like

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if right away we say to the audience,
this is going to be different,

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but come along on this journey,
you know, and the music is this river,

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and you guys are in this boat,
little boat, and you're

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bumping down the river and sometimes it's
going to get a little quiet.

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Maybe it's going to get
even a little boring,

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and then sometimes it's
going to get a little exciting.

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But just trust the river.

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It's going to take it to the end of it,

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and it's going to be
an interesting journey.

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You know, that the most I can promise you
is that

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it's going to be an interesting journey.

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I'm not going to go

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and promise you anything else,
but I'm going to carry you along.

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And if you don't understand everything,
that's okay too.

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At least
it was an interesting journey after,

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you know, you know, when when you go
to foreign places where you don't

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speak the language, it's all right
if you don't understand the words.

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It can still be interesting
and entertaining and an experience.