Original subtitles

You. Part of the problem is when you use something,

you know, as simplistic as a two note device as you.

You don't quite believe in it.

You think you're supposed to do more.

You're supposed to write a big heroic theme.

But anything we tried in that always led us back to this.

and so that's

when we finally figured out, yes, those two notes will work.

I mean, we we we had all sorts of other things playing over the scene.

We tried.

this is when we found our movie.

I think I think it very much defined

not just the style of this movie, but it defined the style

of how we move forward.

I mean, had it not been for the scene that, you know, the joke

stuff would never have been done that way.

It's just it's we learned we can get away with the barest minimum of harmonic and,

you know, tune.

We didn't need a tune to go and play this.

I had written a more heroic

and more developed Batman theme and a more to me, obvious one.

And Chris actually really liked it, and he kept saying, can't we use that tune?

And kind of, can't we put that tune in somewhere?

And I kept saying to him,

I don't think the character is

I don't think the character's ready for that tune in a funny way.

And I was hoping, that maybe he'll never be ready for

for for the obvious, hero tune.

Chris kept coming back to this, and finally I said to him,

just it's just it's just not in his eyes.

and it was just,

you know, it's just that communication, I mean, figuring out how to.

I had a feeling about something.

My director had a feeling about something, and,

you know, it wasn't that, like he acquiesced.

It was just, you know.

Oh, he saw what I was going for, and I just couldn't figure it out in words.

And that's.

But I think in the long run, it was worth

both of our while that we kept coming back to that conversation.

You know, how much had the character development?

How much had he not developed?

The French horns for Batman.

As for French horns on the right foot, French Schultz on the left.

And that up in a gallery up way above the orchestra in this church.

So that's a whole bunch of microphones.

because part of what you want,

I want that a geography of where they are.

So there have to be low microphones, and they have to be high

microphones that capture some of this.

Then you have the orchestra, which is basically playing

tunes, long notes, whatever they're playing.

but not rhythmic parts because the rhythmic parts

I wanted to have really, really, really super precise.

So all that to get, to get to get to get to these ostinato patterns.

They were all done separately, which

seemed like a really good idea at the time,

but it was painful and I thought, hey, wouldn't it be interesting to have

something that was above the orchestra so that rather than just doing

3D or, you know, not

just do surround like this, but truly try to try to impose

some idea of height into this thing, you know, at least have a go at it.

You know, sometimes it doesn't actually matter if the audience

really hears that's.

But it just helps me to think through

the architecture of what I'm trying to do by going, well, you know, okay,

so the Batman signal is going to be above, and that little motor is down there.

The orchestra, you know, the, percussion is really up in your face

just just to, to, you know, create a sort of a sonic stage.

and, you know, and I actually know,

but what does happen as well by having the French for French Hobbs.

you know, the whole width of a church apart

from each other and just just the way they play up into the dome.

that's a that's a great thing that happens to the reverb

that starts coursing, and the notes literally fly over to the other team.

And, you know, when they play the other note,

something in the middle, it becomes the release of a gorgeous chord.

So yeah, it's the height thing was

the conceit.

But the

the way the chord is formed by using the building is not accompanied.

I mean, that really happens.

For the microphones are angled down, the orchestra sitting down,

the microphones are slightly above them, and you get a sense of place.

You got a sense of perspective.

When nine tapes in the house are working on Batman.

There was an endless heroic theme that just went on and on and on and on

and I kept

thinking, that's not that's not the character.

The character is right at the beginning of the movie,

the child, Bruce Wayne, as a child

sort of is, you know, responsible.

Not he's not responsible.

But part of what sets his story on his fate

into motion is that he wants to leave the opera and his parents get killed.

At that moment, he freezes and time.

It's like Arrested Development because partly

what I'm concerned with is

how do I get an audience to suspend

disbelief that a man would dress up in a Batman outfit?

Right. So I think that's part of the job.

Part of the job is to, legitimately,

I have to legitimately buy into this and to legitimately buy into this, I have to

make up some outlandish theories that I believe.

I have to believe in the character.

and one of the things which which

I kept thinking is this, that.

He, he I mean, the reason I ended up with

just two notes was really that.

It's like, what is the next?

He stuck his his life, you know,

he can never become.

He could never become that heroic.

He's not. He's

he's stuck in that one moment in his childhood

and and everything just circles around that,

you know, he can't have a proper grown up relationship.

He can't he can't become truly heroic.

That's that's, you know,

that that's story elements about my mind.

Isn't that my my mind keeps gets

getting stuck.

And this, this little nagging motif

that goes all the way through this, it's like this little clock.

It's just driving them forward. It's like the,

you know,

which is a good with guilt, innocence, I don't know.

You know, and and,

so, so,

the, you know, the Hulk

to, to try to contain the whole character literally within one phrase.

It's, you know, it's very official.

And because I can.

Expect,

especially if you do a movie about origin,

which The Batman Begins obviously is, and you don't see

the Batman character,

you know, he's not wearing the outfit until Real fall or something like this.

So it's a setup

to have a very efficient way of saying, oh, this is the Batman movie.

This is it.

So, you know, when you hear.

It's it's nothing, nothing special.

I mean, like like a

10 million composers have used this,

but it's sort of I'm quite purposeful.

I'm quite deliberate about it.

and I think when you hear it, you know that it's Batman.