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Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.
Danny Elfman
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So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.
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So I've learned in the past, if a company approaches me and they want something like this, or something like that that I've done and I turn them down, they're going to do it anyhow.
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Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.
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Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction.
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Most often the music does end up in the movie, and sometimes there's a point where I wish that it wasn't, just because I think the score would be more effective if there was less of it. But, again, that's not my call.
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It's just hard. I wish the studios felt there was more value in these themes and these pieces of material - that they're worth protecting more. Because then it just wouldn't happen. If the studios cared, the stuff would be stopped in a second.
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It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.
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It sounds really stupid, I hate making cosmic comments like this but, I just let it do what it wants to do.
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In Tim's films, more than most, if you miss the tone, you don't get the film.
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In some types of music I'm working out all the chords one bar at a time - the whole structure, because it's about that. And there are other pieces which are really about - okay, the melody is going to start here and play through to here.
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I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
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I'm looking for a feel and I have to find what that feel is before I can move on from there. I'm not necessarily catching stuff in such a simple way - I don't need to. So, I'm going for something else.
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