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Speaker 1: This is Alec Baldwin, and you were listening to Here's

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Speaker 1: the Thing from My Heart Radio. It's officially summer, and

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Speaker 1: that means it's time for our tradition at Here's the Thing,

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Speaker 1: where our staff shares their favorite episodes in our Summer

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Speaker 1: Staff series. Next up is our producer, Zach McNeice.

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Speaker 2: Thanks Alec. Whether you're a casual movie fan or a

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Speaker 2: true cinema junkie like me, the name Hans Zimmer is

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Speaker 2: no doubt synonymous with some of the most loved and

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Speaker 2: awarded films of the past thirty years. He's an artist

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Speaker 2: whose work speaks for itself. So without further ado, here's

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Speaker 2: Alex's conversation with Hans Zimmer.

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Speaker 1: The score of a movie has a way of enriching

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Speaker 1: a film's emotional journey, from the profound to the playful.

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Speaker 1: It is often an unconscious part of why the feeling

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Speaker 1: of a movie stays with us long after we leave

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Speaker 1: the theater. My guest today is one of the all

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Speaker 1: time masters of film composition, Hans Zimmer. He scored more

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Speaker 1: than one hundred and fifty movies, including Gladiator, Hannibal, Sherlock Holmes,

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Speaker 1: The Last Samurai, The Thin Red Line, and many many more.

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Speaker 1: Hans Zimmer's work has earned him an Academy Award for

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Speaker 1: The Lion King, two Golden Globes, and countless more nominations.

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Speaker 1: In two thousand and five, hans Zimmer began working with

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Speaker 1: director Christopher Nolan. It's become one of the most celebrated

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Speaker 1: partnerships in movie history. For Nolan, Zimmer has scored the

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Speaker 1: Dark Knight trilogy, Interstellar, Dunkirk, and Inception, which features this

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Speaker 1: song time. Hans Zimmer's work spans an eclectic range of

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Speaker 1: feature films, television, and documentaries. I wanted to know whether

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Speaker 1: his scoring process is different when he works on animated films.

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Speaker 3: All directors are different from each other. But I once

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Speaker 3: was invited to a dinner party and at the end

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Speaker 3: of the table sat Terrence Malick and Vana Hatsuk. You know,

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Speaker 3: everybody's talking at the long table, and then suddenly everybody

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Speaker 3: stops talking, and it's just the two great artists chatting,

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Speaker 3: and they're arguing about which Q and Lion King is better.

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Speaker 3: You know, these two admirable auteurs are arguing about Lion King,

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Speaker 3: you know, about a kid's movie. So the weird thing is,

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Speaker 3: you know, I can talk to Tarry Mallik about animation,

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Speaker 3: and I can talk to Tom mcgrass, our director on

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Speaker 3: Boss Baby about Thin Red Line, you know, and in

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Speaker 3: one way or the other, it's sort of the same thing.

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Speaker 3: Other than that, you can get away with a lot

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Speaker 3: more animation. I find, you know, you and I in

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Speaker 3: a peculiar way, we give life to something that doesn't

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Speaker 3: have life. I mean, it's, you know, the whole point

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Speaker 3: about animation, especially now with CG, where things have gotten

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Speaker 3: so refined and they can do such amazing things, but

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Speaker 3: the one thing they can't do, they can't really truly

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Speaker 3: breathe life into it, and so ultimately that the only

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Speaker 3: real performance is the actors and the musicians. And for instance,

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Speaker 3: what we did on the last Lion King movie. You know,

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Speaker 3: we did a remake, and I thought, wh am I

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Speaker 3: going to do a remake, And I thought, everybody knows

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Speaker 3: the tunes. Everybody in the orchestra noticed the tunes. All

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Speaker 3: my musicians and know the tunes. I'm going to spend

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Speaker 3: a week pretending I'm recording little cues, and in the

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Speaker 3: last two days I'm literally going to make it about okay,

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Speaker 3: We're going to run the movie from the beginning to

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Speaker 3: the end, and you're going to just hold on for

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Speaker 3: dear life, and we're going to recall the whole thing

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Speaker 3: as a performance, because I wanted to have that, you know,

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Speaker 3: the thing that you get in a live performance, the

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Speaker 3: thing you get in a theater genius mixed with fear

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Speaker 3: and catastrophe.

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Speaker 1: Well, we've had people talk to us and they have

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Speaker 1: careers and whatever, editing or or what have you. And

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Speaker 1: I'm curious, not in a relationship, let's say with Nolan,

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Speaker 1: where you've made a few films with him, or you've

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Speaker 1: made a couple with Nancy and this is two boss

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Speaker 1: babies and so forth. But on your maiden voyage with Nolan,

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Speaker 1: does he send you the script and you start to

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Speaker 1: get in conversation with him the type of score he

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Speaker 1: wants and you start to like riff little things before

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Speaker 1: or do you only really get concretized about it until

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Speaker 1: you see cut footage.

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Speaker 3: Let's talk about Chris and my working method, and I

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Speaker 3: think we set off on the wrong foot right away

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Speaker 3: because he wanted me to do Batman, and I kept

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Speaker 3: saying I don't want to do Batman, and Fanny, he said,

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Speaker 3: why don't you do Batman? I said, I know how

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Speaker 3: to be the dark Night, but I don't know how

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Speaker 3: to be Bruce Wayne. And he said, that's easy. Get

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Speaker 3: a friend and to be the other character. You don't

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Speaker 3: have to be schizophrenic. So I ask my friend Jameson Howard,

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Speaker 3: who is one of the most elegant composers in the world,

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Speaker 3: to be light and let me be my Germanic darkness.

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Speaker 3: And then I was working on something in Los Angeles.

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Speaker 3: Chris was shooting in London, and he has a way

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Speaker 3: of being very persuasive. He's going, well, yes, I got

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Speaker 3: this shot of Batman standing on top of a building,

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Speaker 3: and I don't quite know how to get him there

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Speaker 3: because I don't want to temper it. But is there

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Speaker 3: something that you can just I mean, it doesn't have

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Speaker 3: to be good, just give me something that gets him

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Speaker 3: up there. And so the first time James and I

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Speaker 3: saw the movie, it had all our rotten little demos

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Speaker 3: in it. But if you go to something like Inception,

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Speaker 3: I remember Chris phoning me and he's going, hey, do

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Speaker 3: you want to come down to the beach with the kids.

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Speaker 1: Is that how he puts it?

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Speaker 3: He's stuck, yeah, yeah.

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Speaker 1: When he needs the music for his movie, let's go

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Speaker 1: down to the beach with the kids. Well, I think

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Speaker 1: that's great. I'm gonna try that. I'm gonna call Spielberg

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Speaker 1: and say, let's go down to the beach with the kids.

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Speaker 3: But it worked. He realized that this idea of the

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Speaker 3: different times in the different dream states was very complicated

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Speaker 3: to an audience, and I said, look to a musician,

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Speaker 3: it's the easiest thing, because that's what we do all

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Speaker 3: the time. You know, you have a bar and you're

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Speaker 3: divide it into four quarter notes, and you can divide

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Speaker 3: that time off the four quarter notes into eight notes,

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Speaker 3: et cetera, and you just keep dividing down and play.

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Speaker 3: You're always playing this time. So I think at the

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Speaker 3: end of the day, it doesn't matter if the audience

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Speaker 3: ever gets the intellectual conceit of the movie. But just

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Speaker 3: think of me like a river and the audience is

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Speaker 3: on a little boat, and I take you downstream with

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Speaker 3: the story. And sometimes it's going to get a little rocky,

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Speaker 3: and sometimes it's going to get a little boring, but

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Speaker 3: you sort of know you can trust the river to

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Speaker 3: take you on this journey and take you to the end.

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Speaker 3: So Chris loved that, and we do think very similarly.

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Speaker 3: I mean, I remember him phoning me from Iceland, so

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Speaker 3: I hadn't seen any footage, right, I just about read

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Speaker 3: the scripts. He phoned me from Iceland. He's explaining the scene,

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Speaker 3: which is and then you have to hit this shot,

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Speaker 3: and then this, and this is the most important scene

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Speaker 3: in the movie. Our lead character is basically seeing his

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Speaker 3: whole family through the years, and he's starting to cry

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Speaker 3: at a certain moment. You know, I have to be poignant,

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Speaker 3: and I find you. Said to Chris, Chris, I don't

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Speaker 3: think I can just do this. I don't think I

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Speaker 3: could wing it without some footage. And I remember all

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Speaker 3: these cuts in my head. And he says, our sense

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Speaker 3: of time, our sense of aesthetics seems to be very similar.

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Speaker 3: Just write it, send it to me. If it doesn't work,

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Speaker 3: i'll send you the picture. Well, unfortunately it worked. Yeah.

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Speaker 3: I phoned him. I said, how is it? He goes, well,

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Speaker 3: it's within two frames where I can go and adjust that.

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Speaker 3: So then he finishes shooting and I'm going, Okay, show

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Speaker 3: me the movie. He's going, you know, it's going really

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Speaker 3: rather well. You know, you imagining my movie and writing freely,

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Speaker 3: At which point I started to just send him pieces

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Speaker 3: of music without telling him what they were for. I

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Speaker 3: wouldn't write anything on them. I just send him music.

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Speaker 3: But I very strongly, having read the script, knew what

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Speaker 3: they were for. And I was praying and hoping. There's

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Speaker 3: a shot in there where Marion Cottier is on a

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Speaker 3: ledge and her shoe drops just so, and I was

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Speaker 3: so hoping that this piece I sent for him was

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Speaker 3: going to end up in that spot. And then months

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Speaker 3: down the road, when I first saw it, there it was,

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Speaker 3: and he absolutely got it. So we have this language

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Speaker 3: without words, because I think what is really important with

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Speaker 3: music is that to me, it's an autonomous language. I

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Speaker 3: am speaking to you in English, which obviously is not

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Speaker 3: my mother tongue, as you might detect from the horrible accent.

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Speaker 3: But if I were to speak to you in a

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Speaker 3: couple of chords, I feel unsafer ground and I feel

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Speaker 3: more articulate. So that's how Chris and I kept working.

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Speaker 3: We kept coming up with crazy you know. We did

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Speaker 3: a list, for instance, for Interstellar, of what are the

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Speaker 3: things we haven't done, you know, and we would cross

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Speaker 3: off big drums, or I did that one, big horns, Oh,

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Speaker 3: we did that one. And then Chris said, what about

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Speaker 3: pipeworgan and that became that, you know, because, as he

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Speaker 3: said it, this is a movie about space and rockets

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Speaker 3: and all that stuff. I mean, I saw the shape

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Speaker 3: of the par argument at the same time I saw

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Speaker 3: the afterburner of rockets, and I thought both are fabulous

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Speaker 3: pieces of technology.

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Speaker 1: Now with Nolan, do you feel that your task is

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Speaker 1: to help them understand and help yourself understand what they want?

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Speaker 1: Have you ever had conflicts with director where you said

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Speaker 1: I don't agree.

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Speaker 3: How much truth would you like?

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Speaker 1: Well, I mean my rule on this show is I

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Speaker 1: don't want.

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Speaker 3: To ruin my career.

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Speaker 1: Your career can't be ruined. What I'm asking is are

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Speaker 1: you there to perform what they want? Or do you

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Speaker 1: consult with them?

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Speaker 3: The director has to trust his composer, and ultimately the

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Speaker 3: composer needs to go and buy into the direct decision.

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Speaker 3: But music is indefensible. I can write you something and

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Speaker 3: play it to you and I think it's the greatest

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Speaker 3: fucking thing. And I just answered every question you ever

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Speaker 3: had about your character or whatever, and you don't get it.

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Speaker 3: It doesn't resonate. So there's no way I can sit

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Speaker 3: there and explain to you why you should like it

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Speaker 3: and either resonates or it doesn't. That's number one. The

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Speaker 3: other thing is I like working with directors who spend

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Speaker 3: a minimum of time talking to me about what music

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Speaker 3: they want, because as soon as they start talking to

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Speaker 3: me about what music they want, my mind goes off

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Speaker 3: into that thing of going My job is to do

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Speaker 3: something that they can't even imagine. My job is to

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Speaker 3: knock their socks off. My job is to do something

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Speaker 3: that is so beyond anything that they could do because

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Speaker 3: otherwise said do it themselves, and you know, and it

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Speaker 3: makes me rather redundant or it makes me a musical secretarime.

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Speaker 1: Do you think that someone to use a more celebrated example,

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Speaker 1: because everybody knows the story about Alex north composition for

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Speaker 1: a Space out of Sea?

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Speaker 3: Yeah?

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Speaker 1: Do you think that someone like Kubrick lunged in the

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Speaker 1: direction of the classical repertoire because he knew what the

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Speaker 1: music was. He didn't have to wait for somebody to

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Speaker 1: write it there? It is extant, it's real. I know,

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Speaker 1: I want, you know, fun carry on with the with

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Speaker 1: the vienna and this and that, just play the Blue

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Speaker 1: Danube and he doesn't have to rely on anybody do

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Speaker 1: you find that there were some directors who they just

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Speaker 1: don't want to keep that control.

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Speaker 3: Well, well it's not sad, you know. I mean, first

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Speaker 3: of all, I should let you know that Stanley Kubrick

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Speaker 3: was the first director that ever fired me, what film

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Speaker 3: Full Metal Jacket, and Vivian, his daughter, took over. But

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Speaker 3: it became this weird, strange thing. So I was really

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Speaker 3: I mean I was maybe eighteen nineteen, and but as

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Speaker 3: soon as I was fired, in other words, because I

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Speaker 3: didn't know how to do what he wanted me to do.

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Speaker 3: Because Stanley Kubrick knew everything, he had studied drumming with

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Speaker 3: Gene Kruper. He just wanted me to be his musical secretary.

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Speaker 3: And I'm not very good at that. Take dictation, yeah, absolutely,

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Speaker 3: take dictation. I mean I would get these tape sent

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Speaker 3: drumming with ten fingers on his tabletop and go, well,

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Speaker 3: get a drummer to do exactly that, and you know,

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Speaker 3: so that didn't work. But then once I was officially fired,

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Speaker 3: I would get these phone calls where he would go,

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Speaker 3: I think Vivian's in a bit of trouble. Can you

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Speaker 3: go up there and see if she's all right? Or

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Speaker 3: he'd go what do you think of Dolby Stereo. I'm

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Speaker 3: eighteen years old, you know, I have no idea. I'm

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Speaker 3: talking to Stanley Cooper.

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Speaker 1: How did you end up? I mean, you're eighteen years old.

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Speaker 1: How does an eighteen year old Hans Zimmer wind up

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Speaker 1: within fifty miles of Stanley Cooprick? How did that happen?

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Speaker 3: Anton first has designer who knew me. They were shooting

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Speaker 3: for Metal Jacket in the docklands of London, and I

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Speaker 3: knew Vivian, who then took over, and so I was

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Speaker 3: really helping Vivian and a son. And then years later

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Speaker 3: I ran into Vivian and I was just on my

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Speaker 3: way to London. She said, oh, you really should go

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Speaker 3: and see Dad. I'm going Why would I go and

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Speaker 3: see you? And she goes, no, no, no, He's always

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Speaker 3: talking about you. Whenever movie comes on television that you did.

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Speaker 3: He's always saying I found him. I was the first

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Speaker 3: one who gets he forgets the other part, you know.

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Speaker 3: And it was really busy and I had to go

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Speaker 3: down to Australia from London, so I didn't go and

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Speaker 3: see him because I thought that Stanley Kubrick is beyond

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Speaker 3: his immortal you know, because he was Stanley Kubridge. And

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Speaker 3: I get to Australia, I get to Sydney and the

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Speaker 3: guy who's picking me up from the airport coincidentally was

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Speaker 3: a chap who I'd met on Full Metal Jacket, and

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Speaker 3: he's got a really sad face. And I realized that,

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Speaker 3: you know, Stanley had died, which was inconceivable to reach sure.

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Speaker 3: And I learned, don't say no if somebody says, hey,

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Speaker 3: come on over, interesting, you know, you come over. And

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Speaker 3: I learned a lot from him. I learned vast things

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Speaker 3: from him.

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Speaker 1: You know, this is music from the film Chappie. Han

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Speaker 1: Zimmer discovered his musical talent very early in life. Another

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Speaker 1: one of our guests who took music seriously at a

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Speaker 1: very young age is classical pianist Long Long. He was

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Speaker 1: a musical prodigy, winning his first competition when he was five.

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Speaker 1: Long Long and I spoke before a live audience in

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Speaker 1: New York City in twenty nineteen. He talked about his

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Speaker 1: father's skepticism of playing in competitions.

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Speaker 4: He discouraged me to do competitions, and I was like, wow,

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Speaker 4: did he say why? Yeah, he said that you're too

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Speaker 4: crazy about being number one. And you are not really

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Speaker 4: focus on what you should be, you know, learning the

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Speaker 4: repertoire and to He said, do you want to become

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Speaker 4: a great musician or you want to just win the prize?

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Speaker 4: And I said, oh, I said, is that not the same?

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Speaker 4: I said, what's the different? I said, if I don't

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Speaker 4: win a prize, how I'm going to become a great musician.

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Speaker 1: Here the rest of my conversation with celebrated pianist Long

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Speaker 1: long A Here's the Thing dot org. After the break,

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Speaker 1: hans Zimmer talks about how he went from playing dingy

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Speaker 1: clubs around England and making coffee for composer Stanley Myers

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Speaker 1: to realizing what he wanted to do for the rest

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Speaker 1: of his life. If you're enjoying this conversation, tell a

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Speaker 1: friend and be sure to follow Here's the Thing on

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Speaker 1: the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

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Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing.

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Speaker 1: This piece is from the film Twelve Years a Slave.

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Speaker 1: Hans Zimmer was born in Frankfurt, Germany. He's largely self taught,

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Speaker 1: and even as a child, understood a strong connection between

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Speaker 1: music and mood.

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Speaker 3: Well, my father died when I was six, and I

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Speaker 3: already played the piano, and I enjoyed playing the piano.

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Speaker 3: But my father died and I realized the only thing

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Speaker 3: that made my mother happy, that put a smile on

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Speaker 3: her face was when I played the piano. So I

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Speaker 3: sort of took on that bird, which then, of course

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Speaker 3: backfired because at school I was appalling in everything other

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Speaker 3: than playing music. I got thrown out of nine schools.

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Speaker 3: Ultimately I ended up in school in England, a fabulous

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Speaker 3: school called Hertwood House. You know, it was a choice

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Speaker 3: to go back to Germany or hang out in Swinging Lundon.

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Speaker 3: So by the time of eighteen, I was in the

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Speaker 3: back of a fort transit van going up and down

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Speaker 3: the m one playing every workingman's club and every city pub.

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Speaker 3: There's the eighties. It was crazy, it was amazing. There

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Speaker 3: was a company called Working Title. They were making music

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Speaker 3: videos and one day Channel four, new television station, came about,

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Speaker 3: and Working Title decided, since we don't know how to

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Speaker 3: make movies, that's okay, they don't really know that, but

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Speaker 3: we'll do something called My Beautiful Laundrette, which was a

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Speaker 3: young Daniel da Lewis, and it was an extraordinary anti

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Speaker 3: thatcher Rite gay Cross everything you know amazingly, It's just

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Speaker 3: mind blowing when nobody saw it coming, and Daniel kisses

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Speaker 3: this Indian boy and you could feel the jaws of

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Speaker 3: the audience hitting the floor and I loved it.

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Speaker 1: So Kubrick and that introduction through full metal. When you're

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Speaker 1: eighteen years old, had you worked on any films or

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Speaker 1: you've been close to any film sets or studios before that?

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Speaker 3: Yes, yeah, no, no, absolutely. I had a mentor Stanley Myers

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Speaker 3: that the man who wrote the music for The Deer

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Speaker 3: Hunter brilliant man. And so Stanley had this coffee machine.

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Speaker 3: He loved his Italian espresso. He had bought an unbelievably

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Speaker 3: complicated coffee machine. And so my job was to work

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Speaker 3: the coffee machine and Stanley would show me how to

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Speaker 3: write for orchestra. And her first day was Stanley Myers

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Speaker 3: and Nicholas Rogue sitting there looking at a scene. In

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Speaker 3: the morning, I was making coffee and they're both going,

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Speaker 3: we have no idea what to do, And by the

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Speaker 3: evening they'd come up with a mind blowing, beautiful solution,

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Speaker 3: musical solution. And I realized this idea of that you

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Speaker 3: have nothing, and that you make something out of nothing,

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Speaker 3: and that it is just a conversation and you just

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Speaker 3: you just breathed the picture in and turn it into notes.

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Speaker 3: That was a fantastic adventure. And then Stanny and I

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Speaker 3: had a little studio and Stanny was very good friends

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Speaker 3: with the producer Jeremy Thomas, who phoned me up one

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Speaker 3: day and said, would I mind coming in on Saturday

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Speaker 3: because he had a Riti Sakamoto and Bernardo Bertulucci coming

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Speaker 3: in to have a look at what Richi had done

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Speaker 3: on the Last Emperor and would I just go and

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Speaker 3: run the tape machines for them. So they piled into

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Speaker 3: my little studio and it turned out that there was

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Speaker 3: a profound lack of communication and Bettu Lucci had recut

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Speaker 3: the Last Emperors as flashback, while Sakamoto had scored the

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Speaker 3: previous version, which was all in chronological order. And the

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Speaker 3: other thing was Saka Roto's idea was that he was

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Speaker 3: going to play Banado the stuff have his friend Koji

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Speaker 3: recorded at Aby wrote, and he was gone because he

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Speaker 3: had a tour start the following day, and so nothing fit.

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Speaker 3: So David Byrne from the Talking Heads was the other composer,

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Speaker 3: and Kong Su, who was a Chinese composer but had

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Speaker 3: studied in Berlin, was another composer on it. So the

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Speaker 3: Chinese composer could only speak German, so I was useful

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Speaker 3: in this case. And Jeremy said, can you just go

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Speaker 3: up to Happy Road and just sort of sort this out?

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Speaker 3: You know, we called the orchestra, and I had no

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Speaker 3: idea what four M, you know, fifty one whatever. Something

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Speaker 3: that was in Real for was now in Real two,

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Speaker 3: but I'd never heard and I didn't even know what

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Speaker 3: scene it was supposed to go. And Bernada would go,

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Speaker 3: why is it getting quiet in the middle of a shot?

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Speaker 3: And I'm like tap dancing furiously coming up with excuses

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Speaker 3: to sort of not put the blame on Ritisakamoto. It

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Speaker 3: really wasn't his fault. So that was really my other introduction. Yeah,

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Speaker 3: And it was like, these people look crazy. These people

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Speaker 3: are genuinely crazy. And there was one day where Danara

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Speaker 3: was working out at Pinewood and there was something had

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Speaker 3: gotten the things kept getting lost, are things kept not

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Speaker 3: happening or whatever? And he fecked me up at my studio.

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Speaker 3: He goes, where are the Chinese death bells? I didn't

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Speaker 3: know that we're going to be Chinese deat belts, nor

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Speaker 3: did I even know that there is such a thing

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Speaker 3: as Chinese death belts. So I said, well, okay, I'm

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Speaker 3: really sorry. I'll come right over with that Chinese deathbelts.

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Speaker 3: So I made up something on the synthesizer because I thought,

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Speaker 3: if I don't know what they sound like, he won't

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Speaker 3: know what they sound like. And I came over and

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Speaker 3: as I got to Pinewood, Bernardo's walking up and down

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Speaker 3: at the gates to the studio and he's like he's

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Speaker 3: got his hands beyond his back. And I get out

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Speaker 3: of the Carlumn saying, look, I'm really sorry. It wasn't

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Speaker 3: my fault. By the way, it really wasn't, you know.

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Speaker 3: But I wasn't going to blame anybody. I just went

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Speaker 3: fuck it out to it and Banana went, look, I'm

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Speaker 3: really sorry. I shouted at you, and he handed me

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Speaker 3: a box of chocolates and he said, look, even though

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Speaker 3: I'm the DIY director and I'm paying you, I realized

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Speaker 3: that the seconds of your life are going by and

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Speaker 3: I should be more gracious.

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Speaker 1: Wow.

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Speaker 3: That taught me something. I mean, the more I worked

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Speaker 3: within the film business at these early days, and mostly

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Speaker 3: it wasn't so high, and mostly like working title. All

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Speaker 3: our cutting rooms were either above a strip club or

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Speaker 3: a pawn shop, and you know, and I would run

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Speaker 3: up the stairs with my little piece of music and

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Speaker 3: sing it up to the picture and hold my breath

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Speaker 3: because if the director didn't like it. But at the

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Speaker 3: same time I realized it was all entertainment, and should

402
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Speaker 3: it go wrong upstairs, maybe I could get a job

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Speaker 3: downstairs at the pawn.

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Speaker 1: Shop, you know, or the strip club for that matter.

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Speaker 3: Ah, the strip club for that matter, absolutely. And then

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Speaker 3: a working title offered me, like the twentieth movie or

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Speaker 3: something like this, that it was about the anti apartheid

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Speaker 3: movement in South Africa called a World apart Blaba Hershey,

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Speaker 3: beautiful film, beautiful film, Chris Inglis. So We're sitting at

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Speaker 3: the Grouto Club and I'm getting so what's the budget?

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Speaker 3: And Tim Bevan says, we're not telling you what the

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Speaker 3: budget is. Your wife is pregnant, and we know what

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Speaker 3: you do. You take all the money that you're supposed

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Speaker 3: to go and take home with you and you just

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Speaker 3: spend it on making the movie sound good. So we're

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Speaker 3: not telling you what the budget is this time, So

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Speaker 3: you go and do the movie and it's going to

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Speaker 3: be all right. So I did the movie, and it

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Speaker 3: turned out my daughter was born on the first day

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Speaker 3: of working on the film, and they opened an account

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Speaker 3: in her name and put the money in there. So,

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Speaker 3: you know, whatever you say about the things about filmmaking,

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Speaker 3: the you know how cynicure you want to be, there

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Speaker 3: are people who are genuinely have a heart. Gentlemen, gentlemen.

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Speaker 3: You know. The other thing which I think is so

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Speaker 3: vital is Hollywood, with all its cheapness and vulgarity, what

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Speaker 3: have you. It's the last place on earth that commissions

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Speaker 3: orchestral music on a daily basis, and if we don't

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Speaker 3: have that, the orchestras will just die.

430
00:25:08,600 --> 00:25:13,520
Speaker 1: At what point were you immersed in the classic Bernard

431
00:25:13,600 --> 00:25:16,639
Speaker 1: Herman era of film scoring? Did you listen to a

432
00:25:16,680 --> 00:25:19,960
Speaker 1: lot of film scores? And no, none.

433
00:25:19,680 --> 00:25:22,320
Speaker 3: Not at all. I come from one of those snobby

434
00:25:22,520 --> 00:25:25,080
Speaker 3: European families where we went to the opera once a

435
00:25:25,119 --> 00:25:29,440
Speaker 3: week and we had no television because television was considered

436
00:25:29,560 --> 00:25:33,159
Speaker 3: the end of culture as we know it. And I

437
00:25:33,240 --> 00:25:38,240
Speaker 3: remember I snuck into the little local cinema where they

438
00:25:38,280 --> 00:25:41,719
Speaker 3: were playing Once upon a Time in the West, and

439
00:25:41,800 --> 00:25:46,800
Speaker 3: it was just like Ennio Morriconi, Sergio Leone, those shots,

440
00:25:46,880 --> 00:25:50,320
Speaker 3: and I'm going, that's it, that's it, That's what I

441
00:25:50,359 --> 00:25:53,560
Speaker 3: want to do, and there was nothing that could stop

442
00:25:53,600 --> 00:25:54,520
Speaker 3: me from doing this.

443
00:25:54,880 --> 00:25:57,480
Speaker 1: Did you feel at any point that you needed to

444
00:25:57,520 --> 00:26:00,639
Speaker 1: study film itself in order to do your all better?

445
00:26:01,119 --> 00:26:01,199
Speaker 2: No.

446
00:26:01,480 --> 00:26:04,960
Speaker 3: I felt I needed to study mythology. I needed to

447
00:26:05,000 --> 00:26:09,240
Speaker 3: study fairy tales. I needed to study psychology. I needed

448
00:26:09,240 --> 00:26:14,040
Speaker 3: to read like crazy, and I needed to sit down

449
00:26:14,200 --> 00:26:17,119
Speaker 3: and talk to as many dp's as I possibly could,

450
00:26:17,440 --> 00:26:20,359
Speaker 3: because if I was the years, they were the eyes.

451
00:26:21,000 --> 00:26:22,959
Speaker 3: I was the guy who would never go home. I

452
00:26:23,000 --> 00:26:25,399
Speaker 3: was always the kid who was still hanging around in

453
00:26:25,440 --> 00:26:28,920
Speaker 3: the cutting room, you know, just badgering the editor, going

454
00:26:28,960 --> 00:26:31,359
Speaker 3: why are you doing that? Why are you doing this cut?

455
00:26:31,400 --> 00:26:34,280
Speaker 3: And why and how does this work? And you know,

456
00:26:34,359 --> 00:26:37,240
Speaker 3: talking to the DP what colors are you going to use?

457
00:26:37,359 --> 00:26:39,959
Speaker 3: What the tone of this film? Tell me, what the

458
00:26:40,040 --> 00:26:41,600
Speaker 3: color palette is going to be?

459
00:26:41,760 --> 00:26:45,119
Speaker 1: Like knowing as we do now that you know, I

460
00:26:45,200 --> 00:26:48,639
Speaker 1: might watch The Crown in bed on my computer and

461
00:26:48,680 --> 00:26:51,760
Speaker 1: my wife is asleep next to me, and then if

462
00:26:51,760 --> 00:26:55,040
Speaker 1: it's Gladiator, you think let's just blow the fucking roof

463
00:26:55,119 --> 00:26:57,159
Speaker 1: off the theater and it's just blow it out. You know,

464
00:26:57,200 --> 00:27:00,600
Speaker 1: that's forty feet why twenty feet high? Is there a

465
00:27:00,640 --> 00:27:03,360
Speaker 1: difference between scoring for TV and for film?

466
00:27:03,720 --> 00:27:07,160
Speaker 3: Not? There should be, There should be, But I don't

467
00:27:07,160 --> 00:27:10,520
Speaker 3: make a difference. I just I just feel there's a

468
00:27:10,600 --> 00:27:14,120
Speaker 3: right path if somebody has a compelling story. If Peter

469
00:27:14,240 --> 00:27:16,520
Speaker 3: Margen comes to me and he goes, I've given up

470
00:27:16,520 --> 00:27:19,679
Speaker 3: on doing movies, I want to do the Crown. You

471
00:27:19,800 --> 00:27:23,520
Speaker 3: take that very seriously. And Peter's vision is vast.

472
00:27:23,520 --> 00:27:25,880
Speaker 1: And what a juggernaut that's been point. Oh my god.

473
00:27:26,200 --> 00:27:29,200
Speaker 3: Absolutely, I love Peter. I've known him. I've known Peter.

474
00:27:29,960 --> 00:27:31,960
Speaker 3: I want to say, I've known Peter all my life.

475
00:27:32,280 --> 00:27:35,040
Speaker 3: Peter and I speak German. He speaks better German than

476
00:27:35,080 --> 00:27:37,480
Speaker 3: I do. You know. We come from that working title

477
00:27:37,560 --> 00:27:41,440
Speaker 3: camp European cinema. It's really different. I mean I came

478
00:27:41,480 --> 00:27:46,720
Speaker 3: to Hollywood expecting it to be technologically far more advanced

479
00:27:46,800 --> 00:27:50,440
Speaker 3: than Europe, and I expected it to be far more collaborative,

480
00:27:51,080 --> 00:27:54,520
Speaker 3: and it wasn't. The composer worked alone, and he had

481
00:27:54,680 --> 00:27:57,520
Speaker 3: a ghostwriter who would never get a credit. You know,

482
00:27:57,680 --> 00:28:02,400
Speaker 3: it's like an army of ghost writers who never saw

483
00:28:02,440 --> 00:28:04,680
Speaker 3: their names up in light, and I thought, oh, that

484
00:28:04,840 --> 00:28:07,520
Speaker 3: poor boss is going to get their career. You know,

485
00:28:07,640 --> 00:28:11,399
Speaker 3: Stanley Meyers, my mentor. I mean he gave me credits

486
00:28:11,440 --> 00:28:13,399
Speaker 3: straight away. I mean it wasn't a big deal, and

487
00:28:13,440 --> 00:28:16,840
Speaker 3: we would all be in the room together. So I

488
00:28:16,920 --> 00:28:19,200
Speaker 3: learned from Stephen Fears. I learned from Nick Rourke. I

489
00:28:19,280 --> 00:28:21,679
Speaker 3: learned from John Flessinger. I learned from Tarry Malleck.

490
00:28:21,840 --> 00:28:22,959
Speaker 1: You did Pacific Heights.

491
00:28:23,119 --> 00:28:24,840
Speaker 3: We did Pacific Heights.

492
00:28:25,040 --> 00:28:27,480
Speaker 1: I auditioned for that movie. I remember I was involved.

493
00:28:27,640 --> 00:28:32,000
Speaker 1: He did a movie The Believers, Yes, that Marty Sheen did,

494
00:28:32,000 --> 00:28:34,560
Speaker 1: and I was going to do that movie Ellen Barkin

495
00:28:34,640 --> 00:28:37,040
Speaker 1: and I think we're pretty close to getting those jobs.

496
00:28:37,080 --> 00:28:39,440
Speaker 1: And then the casting director cut our throats and got

497
00:28:39,520 --> 00:28:41,800
Speaker 1: rid of us because they felt we were too young.

498
00:28:41,960 --> 00:28:45,120
Speaker 1: I remember, I was just overwhelmed with a passion to

499
00:28:45,160 --> 00:28:46,800
Speaker 1: work with slashinger. What was he like?

500
00:28:47,080 --> 00:28:49,840
Speaker 3: Same with me. Any director who in the middle of

501
00:28:49,960 --> 00:28:53,240
Speaker 3: scoring says, I'm so sorry, but I have to take

502
00:28:53,320 --> 00:28:56,840
Speaker 3: a few days off because I'm directing an opera in Salzburg.

503
00:28:57,240 --> 00:28:59,080
Speaker 3: Is okay with me? Do you know what I mean?

504
00:28:59,520 --> 00:29:02,280
Speaker 3: It's like at the end of all the scoring sessions,

505
00:29:02,720 --> 00:29:06,160
Speaker 3: he made a list of all the quotes of classical

506
00:29:06,240 --> 00:29:09,640
Speaker 3: music I'd used, which was that's great. It was a game.

507
00:29:09,920 --> 00:29:14,360
Speaker 1: But again, knowing that writing music and performing music, what

508
00:29:14,480 --> 00:29:16,200
Speaker 1: happened to when you go and record it and you

509
00:29:16,200 --> 00:29:18,760
Speaker 1: hear it and you go it's that right.

510
00:29:19,280 --> 00:29:22,560
Speaker 3: Well, one of the things is to be absolutely clear

511
00:29:22,840 --> 00:29:26,960
Speaker 3: we are making a recording. We're not doing a concert.

512
00:29:27,320 --> 00:29:30,600
Speaker 3: You don't have the freese of a live performance going on.

513
00:29:30,680 --> 00:29:33,120
Speaker 3: So I try to have a bit of that going on.

514
00:29:33,360 --> 00:29:36,560
Speaker 3: For instance, I tell directors before I start working with them,

515
00:29:36,600 --> 00:29:39,320
Speaker 3: and they all get it. I will not make a

516
00:29:39,440 --> 00:29:42,320
Speaker 3: change during the scoring session in front of the orchestra,

517
00:29:42,640 --> 00:29:45,280
Speaker 3: will take it off the stands, I'll go home, I'll

518
00:29:45,600 --> 00:29:47,800
Speaker 3: rewrite it whatever you want, but I will not do

519
00:29:47,840 --> 00:29:50,880
Speaker 3: it in front of the orchestra because when the orchestra

520
00:29:51,000 --> 00:29:54,080
Speaker 3: is playing, it's about a performance, and we don't want

521
00:29:54,120 --> 00:29:55,800
Speaker 3: to stop, and we don't want to bore them, and

522
00:29:55,840 --> 00:29:58,760
Speaker 3: we certainly don't want to show any insecurity. The lion

523
00:29:58,880 --> 00:30:02,320
Speaker 3: tyming and film comp housing seem to have a close link.

524
00:30:02,760 --> 00:30:05,560
Speaker 3: You know, both can kill you. I mean the director

525
00:30:05,600 --> 00:30:07,720
Speaker 3: will eat your life. And if it's not the directors.

526
00:30:07,720 --> 00:30:10,400
Speaker 3: There's there's a whole bunch of guys in the brass

527
00:30:10,400 --> 00:30:13,160
Speaker 3: section who are just looking at you, going, okay, kid,

528
00:30:13,640 --> 00:30:15,760
Speaker 3: let's see what hams. Let's see where.

529
00:30:17,080 --> 00:30:18,280
Speaker 1: You had some of that early on?

530
00:30:18,480 --> 00:30:20,960
Speaker 3: Yeah, absolutely, and now we're fine.

531
00:30:21,240 --> 00:30:21,360
Speaker 2: Now.

532
00:30:21,400 --> 00:30:24,040
Speaker 3: I actually had the one of the greatest compliments recently.

533
00:30:24,520 --> 00:30:27,360
Speaker 3: There's a percussionist in London who's played on everything from

534
00:30:27,440 --> 00:30:30,440
Speaker 3: you know, Star Wars plus all the classics, and I

535
00:30:30,480 --> 00:30:33,239
Speaker 3: saw him the other day. He goes Hamps. We were

536
00:30:33,280 --> 00:30:35,800
Speaker 3: worried about you when you went to Hollywood because we

537
00:30:35,880 --> 00:30:39,040
Speaker 3: thought you're just going to become one of those prats.

538
00:30:39,280 --> 00:30:42,240
Speaker 3: But you know something, you came back. You're still one

539
00:30:42,280 --> 00:30:45,880
Speaker 3: of us. You're still a complete music bastard and we

540
00:30:45,960 --> 00:30:48,400
Speaker 3: love you for that. So I thought that was like

541
00:30:48,480 --> 00:30:52,880
Speaker 3: the best compliment I could have, and it meant whatever

542
00:30:52,920 --> 00:30:55,479
Speaker 3: we were doing was going to be okay because I

543
00:30:55,640 --> 00:30:57,360
Speaker 3: was still part of them.

544
00:30:57,680 --> 00:31:00,960
Speaker 1: Now, when you see footage doesn't perform Romans ever.

545
00:31:00,880 --> 00:31:02,640
Speaker 3: Motivate you one hundred percent.

546
00:31:02,880 --> 00:31:05,680
Speaker 1: Really, what's an example of a performance by an actor

547
00:31:05,680 --> 00:31:08,280
Speaker 1: in a film you did that really helped lift you

548
00:31:08,440 --> 00:31:10,360
Speaker 1: to the level you wanted to go in terms of

549
00:31:10,400 --> 00:31:11,080
Speaker 1: your score.

550
00:31:11,800 --> 00:31:15,719
Speaker 3: Jack Nicholson in as good as it gets. Really didn't

551
00:31:15,760 --> 00:31:19,120
Speaker 3: know what to do. I was really struggling, and finally

552
00:31:19,160 --> 00:31:21,440
Speaker 3: I said to Jim Burks, Jim, what are you doing

553
00:31:21,480 --> 00:31:24,640
Speaker 3: in the weekend? Do you mind sitting on my couch

554
00:31:24,760 --> 00:31:27,200
Speaker 3: and let me just look at Jack. Look at what

555
00:31:27,280 --> 00:31:31,160
Speaker 3: he's doing. I mean, there's a history. Before Jack started

556
00:31:31,160 --> 00:31:35,400
Speaker 3: filming the movie, I was at his house going over, like,

557
00:31:35,560 --> 00:31:37,400
Speaker 3: he's going to play the piano. He didn't want to

558
00:31:37,400 --> 00:31:39,640
Speaker 3: play the piano. I'm going it's easy. I can go

559
00:31:39,680 --> 00:31:41,240
Speaker 3: and replace anything that's wrong.

560
00:31:42,080 --> 00:31:44,320
Speaker 1: No, Jack didn't want to play the piano.

561
00:31:45,040 --> 00:31:46,760
Speaker 3: Didn't want to play the piano. I think he just

562
00:31:46,800 --> 00:31:49,719
Speaker 3: wanted to talk to Jim a bit. But so Jim's

563
00:31:49,720 --> 00:31:53,400
Speaker 3: sitting there and we just started to work out together

564
00:31:53,840 --> 00:31:57,320
Speaker 3: what this character would be, Like it's the way his

565
00:31:58,000 --> 00:32:02,000
Speaker 3: legs moved, or it's just a little something in the shoulder.

566
00:32:02,080 --> 00:32:06,240
Speaker 3: It's never something he says, it's body language, it's a ballet.

567
00:32:06,760 --> 00:32:09,920
Speaker 3: And literally it was two days of just experimenting. Jim

568
00:32:10,000 --> 00:32:12,320
Speaker 3: sitting there and we worked the whole thing out, and

569
00:32:12,360 --> 00:32:14,960
Speaker 3: so you know, I totally understood what Jack was trying

570
00:32:14,960 --> 00:32:15,160
Speaker 3: to do.

571
00:32:15,560 --> 00:32:17,960
Speaker 1: Helen Hunt, she wont to ask for I love that film.

572
00:32:18,080 --> 00:32:19,880
Speaker 1: He did too. Here do too, he did too. And

573
00:32:20,160 --> 00:32:23,600
Speaker 1: what I love is there's an almost pugilistic quality to

574
00:32:23,760 --> 00:32:26,480
Speaker 1: when he says his lines the woman of the legendary

575
00:32:26,560 --> 00:32:28,920
Speaker 1: line when he's at the elevator and the woman says,

576
00:32:28,920 --> 00:32:30,480
Speaker 1: how do you write those female? Do you write those

577
00:32:30,480 --> 00:32:33,560
Speaker 1: women so well? I think of a man and I

578
00:32:33,640 --> 00:32:37,160
Speaker 1: take away reason and accountability right, one of the greatest

579
00:32:37,160 --> 00:32:38,320
Speaker 1: lines in Hollywood history.

580
00:32:38,760 --> 00:32:41,000
Speaker 3: There's another bit in it at the end when he

581
00:32:41,040 --> 00:32:43,600
Speaker 3: doesn't know how to go and see the Helen Hunt character,

582
00:32:44,600 --> 00:32:47,680
Speaker 3: and Greg Kinnear says to him, but you already have

583
00:32:47,720 --> 00:32:52,600
Speaker 3: an advantage, he already prepared to humiliate yourself. And in

584
00:32:52,640 --> 00:32:56,240
Speaker 3: a funny way, I've made that sort of my light

585
00:32:56,360 --> 00:32:59,520
Speaker 3: motif of how I'm going to go and play a

586
00:32:59,560 --> 00:33:02,680
Speaker 3: piece of music to a director or anybody for that matter.

587
00:33:02,960 --> 00:33:06,600
Speaker 1: I'm sure, I'm sure that these examples have been There

588
00:33:06,680 --> 00:33:09,640
Speaker 1: might be none, or certainly few and far between. But

589
00:33:09,720 --> 00:33:12,600
Speaker 1: have you ever just pushed out your best effort and

590
00:33:12,640 --> 00:33:14,720
Speaker 1: you thought I can't save this movie?

591
00:33:15,200 --> 00:33:18,640
Speaker 3: Yes, and being wrong at the same time, thinking this

592
00:33:18,800 --> 00:33:21,320
Speaker 3: is terrible, and then the audience loved it. You know,

593
00:33:21,600 --> 00:33:23,080
Speaker 3: don't try to predict anything.

594
00:33:23,240 --> 00:33:24,880
Speaker 1: That's a very good point, you know, to.

595
00:33:25,000 --> 00:33:28,080
Speaker 3: Th own self be true. I mean, look, you and

596
00:33:28,160 --> 00:33:31,520
Speaker 3: I we did a movie Pearl Harbor. Yeah, there's a line.

597
00:33:31,520 --> 00:33:36,040
Speaker 3: And girl and boy met forty five minutes ago in

598
00:33:36,080 --> 00:33:38,880
Speaker 3: the story and they're sitting next to each other and

599
00:33:38,960 --> 00:33:40,520
Speaker 3: she says to him, if I have one more night

600
00:33:40,560 --> 00:33:42,240
Speaker 3: to live, I want to spend it with you. And

601
00:33:42,280 --> 00:33:46,080
Speaker 3: I said to Michael Bay, Michael, you gotta get rid

602
00:33:46,160 --> 00:33:48,720
Speaker 3: of that line. I learn from Ridley Scott. Ridley Scott

603
00:33:48,760 --> 00:33:53,640
Speaker 3: always would say sentimentality, that's unanned emotion. And he's going, yeah,

604
00:33:53,640 --> 00:33:55,600
Speaker 3: don't worry, I'll get rid of it. He never got

605
00:33:55,680 --> 00:33:58,240
Speaker 3: rid of it. It's the favorite line in the movie

606
00:33:58,520 --> 00:33:59,840
Speaker 3: by teenage girls.

607
00:34:00,400 --> 00:34:06,680
Speaker 1: Oh God, Hans Zimmer, this is to every captive soul

608
00:34:06,760 --> 00:34:49,560
Speaker 1: from the motion picture Hannibal. When we return, Hans Zimmer

609
00:34:49,640 --> 00:34:54,280
Speaker 1: talks about how an invitation from musician Pharrell Williams helped

610
00:34:54,320 --> 00:35:16,719
Speaker 1: him overcome stage fright. I'm Alec Baldwin and this is

611
00:35:16,800 --> 00:35:22,000
Speaker 1: here's the thing. In twenty sixteen, Hans Zimmer did something

612
00:35:22,000 --> 00:35:26,080
Speaker 1: he hadn't done in decades, played in front of an audience.

613
00:35:26,680 --> 00:35:32,000
Speaker 1: The result was Hans Zimmer Live an arena style concert series,

614
00:35:32,239 --> 00:35:35,760
Speaker 1: which wouldn't have happened without encouragement from his friends.

615
00:35:36,480 --> 00:35:39,160
Speaker 3: There was like a cabal ganging up on me. There

616
00:35:39,200 --> 00:35:44,120
Speaker 3: was Frell, Williams, Johnny Ma and my friend Anne Marie Simpson,

617
00:35:44,239 --> 00:35:46,920
Speaker 3: great violinist, and they're all sitting here and they're going,

618
00:35:47,560 --> 00:35:50,160
Speaker 3: you know, Hans, you can't hide behind the screen for

619
00:35:50,200 --> 00:35:54,280
Speaker 3: the rest of your life. Sometimes it is your duty

620
00:35:54,400 --> 00:35:57,080
Speaker 3: to look an audience in the eye, especially after you've

621
00:35:57,120 --> 00:36:00,840
Speaker 3: done so much. I'm gonna rrible idea. I think I

622
00:36:00,880 --> 00:36:03,600
Speaker 3: should just stay in this room, I mean. And so

623
00:36:03,680 --> 00:36:06,279
Speaker 3: this goes on and I keep saying no and then

624
00:36:06,320 --> 00:36:08,680
Speaker 3: get up and they're walking out of my room. And

625
00:36:08,960 --> 00:36:12,560
Speaker 3: right at the end, Farrell turns around and he says, Hey,

626
00:36:12,640 --> 00:36:14,520
Speaker 3: I'm going to play the Grammys. Do you want to

627
00:36:14,520 --> 00:36:18,720
Speaker 3: play guitar for me? And I thought only an idiot

628
00:36:18,760 --> 00:36:22,880
Speaker 3: would say no. So it was his show. The Grammys

629
00:36:22,880 --> 00:36:26,239
Speaker 3: were his show. I'm playing guitar. Through the whole performance,

630
00:36:26,880 --> 00:36:29,000
Speaker 3: he kept his eyes on me. He just to make

631
00:36:29,080 --> 00:36:32,200
Speaker 3: sure that I was okay, that was safe, which was

632
00:36:32,239 --> 00:36:35,359
Speaker 3: such an act of kindness. And I was going, Oh,

633
00:36:35,600 --> 00:36:38,879
Speaker 3: it's not so bad. This is actually good fun. So

634
00:36:38,960 --> 00:36:43,080
Speaker 3: I phoned. I felt, my friend Harvey Goldsmith, who promoted

635
00:36:43,120 --> 00:36:45,680
Speaker 3: the original Live Aid and everything else. I mean he

636
00:36:45,760 --> 00:36:49,839
Speaker 3: brought Springsteen to England, etc. And I'm saying, Harvey, if

637
00:36:49,880 --> 00:36:52,320
Speaker 3: I did a concert, I mean, do you think anybody

638
00:36:52,360 --> 00:36:55,879
Speaker 3: would come? He goes, yeah, I think so. So in

639
00:36:56,200 --> 00:36:59,200
Speaker 3: twenty fourteen, we did two nights in London and a

640
00:36:59,280 --> 00:37:03,200
Speaker 3: rock and roll and I thought it was important. Number one,

641
00:37:03,239 --> 00:37:05,240
Speaker 3: it was important to be a rock and roll venue,

642
00:37:05,480 --> 00:37:07,880
Speaker 3: and it would be fun to pawn orchestra into it,

643
00:37:08,000 --> 00:37:10,000
Speaker 3: or we can go more extreme. Because then we went

644
00:37:10,120 --> 00:37:13,160
Speaker 3: and did courchella, and I thought, oh, we have to

645
00:37:13,200 --> 00:37:15,799
Speaker 3: do courchella because we got to have an orchestra in

646
00:37:15,840 --> 00:37:19,000
Speaker 3: the middle of the desert and a choir. And secondly,

647
00:37:19,200 --> 00:37:23,799
Speaker 3: I want to change the way people perceive orchestras and

648
00:37:23,880 --> 00:37:28,280
Speaker 3: choirs because I can understand that going to a classical concert,

649
00:37:28,400 --> 00:37:32,319
Speaker 3: unless it's an amazing conductor, seeing a guy with his

650
00:37:32,480 --> 00:37:35,160
Speaker 3: back to you all night while there's a whole bunch

651
00:37:35,200 --> 00:37:38,440
Speaker 3: of guys and girls reading the paper is like a

652
00:37:38,480 --> 00:37:42,319
Speaker 3: bad marriage on a Sunday morning. So I said to

653
00:37:42,360 --> 00:37:44,600
Speaker 3: the orchestra, if I get rid of the conductor, I mean,

654
00:37:44,640 --> 00:37:47,800
Speaker 3: we have enough technology. We can go and show things

655
00:37:47,880 --> 00:37:50,400
Speaker 3: up on the conducting up on the screen. You know,

656
00:37:50,560 --> 00:37:52,959
Speaker 3: it doesn't have to be in the sideline. You will

657
00:37:52,960 --> 00:37:56,400
Speaker 3: have an autonomous sideline to the audience. Will that work?

658
00:37:56,880 --> 00:37:58,840
Speaker 3: And they said, yeah, absolutely, we'll have We'll have a

659
00:37:58,840 --> 00:38:02,400
Speaker 3: go at it, and that basically became the basis of

660
00:38:02,560 --> 00:38:07,080
Speaker 3: that tour and the idea of being surrounded by not

661
00:38:07,120 --> 00:38:10,800
Speaker 3: only great orchestral class, but great rock and roll class.

662
00:38:10,800 --> 00:38:13,840
Speaker 3: Because great musicians are great musicians. You either move me

663
00:38:14,080 --> 00:38:14,960
Speaker 3: or you don't move me.

664
00:38:15,520 --> 00:38:18,160
Speaker 1: You know, it's interesting how when you write music. I

665
00:38:18,200 --> 00:38:20,680
Speaker 1: want to tee this up with the story, which was

666
00:38:20,760 --> 00:38:25,239
Speaker 1: I was haunted by the sequence in Cold Blood where

667
00:38:25,320 --> 00:38:28,360
Speaker 1: Robert Blake is watching Scott Wilson have sex with the

668
00:38:28,440 --> 00:38:32,200
Speaker 1: prostitute and he's sitting on the bed and that transforms

669
00:38:32,239 --> 00:38:35,080
Speaker 1: into his mother with a John and the father comes

670
00:38:35,120 --> 00:38:39,560
Speaker 1: in and it's this horribly painful, traumatic thing for the

671
00:38:39,640 --> 00:38:42,600
Speaker 1: Robert Blake character, and he's sitting there with tears running

672
00:38:42,640 --> 00:38:45,440
Speaker 1: down his eyes and the rain behind him in the

673
00:38:45,480 --> 00:38:48,880
Speaker 1: window running down the window, and they play this Mexican

674
00:38:48,960 --> 00:38:53,279
Speaker 1: ballad and I drove myself to the brink of insanity

675
00:38:53,320 --> 00:38:55,000
Speaker 1: trying to find out what the name of the song

676
00:38:55,160 --> 00:38:57,400
Speaker 1: was who the singer was, and of course who wrote it?

677
00:38:57,440 --> 00:38:59,400
Speaker 1: And I couldn't take it anymore. So you know, when

678
00:38:59,440 --> 00:39:01,920
Speaker 1: you're with c as an agency, they can get you

679
00:39:01,960 --> 00:39:04,560
Speaker 1: on the phone with anybody. So the next thing you know,

680
00:39:04,960 --> 00:39:08,200
Speaker 1: I'm on the phone with Quincy. Right. I said, now

681
00:39:08,239 --> 00:39:11,400
Speaker 1: this song in this thing? He said, yeah, yeah, man, Nina,

682
00:39:11,600 --> 00:39:13,680
Speaker 1: the song is Nina Baby. That's the name of so Nina.

683
00:39:14,440 --> 00:39:16,520
Speaker 1: And I go who wrote the song? And is a pause?

684
00:39:16,600 --> 00:39:18,920
Speaker 1: He goes, I wrote a baby. I wrote it. I

685
00:39:18,920 --> 00:39:21,759
Speaker 1: mean what you're talking about, man, I wrote the song

686
00:39:21,880 --> 00:39:25,239
Speaker 1: like I write all the songs. Did you feel that

687
00:39:25,280 --> 00:39:27,400
Speaker 1: they were parts of your career where you went to

688
00:39:27,480 --> 00:39:29,759
Speaker 1: learn to write music you thought you couldn't write, whether

689
00:39:29,800 --> 00:39:30,320
Speaker 1: you know, from.

690
00:39:30,200 --> 00:39:33,640
Speaker 3: The culture, Yeah, I mean absolutely. I mean I had

691
00:39:33,680 --> 00:39:35,880
Speaker 3: this from Penny Marshall. But she comes to me and

692
00:39:35,920 --> 00:39:42,600
Speaker 3: she goes, forties girls baseball. Though I'm going I know

693
00:39:42,800 --> 00:39:46,400
Speaker 3: nothing about being a girl. I know nothing about the forties.

694
00:39:46,600 --> 00:39:50,840
Speaker 3: I don't know anything about jazz, you know. And she goes,

695
00:39:51,239 --> 00:39:53,759
Speaker 3: don't worry about it, just do it, and oh yeah,

696
00:39:53,760 --> 00:39:55,920
Speaker 3: And I say I know nothing about baseball. She goes,

697
00:39:56,320 --> 00:40:00,239
Speaker 3: when they hit it, that's good. You know, I was

698
00:40:00,280 --> 00:40:02,359
Speaker 3: basically my brief. It took me a while to figure

699
00:40:02,400 --> 00:40:05,720
Speaker 3: out how I could solve this because I really don't

700
00:40:05,760 --> 00:40:07,360
Speaker 3: know anything about jazz.

701
00:40:07,560 --> 00:40:09,919
Speaker 1: You felt you didn't know anything about jazz. You weren't

702
00:40:09,960 --> 00:40:10,560
Speaker 1: a jazz fan.

703
00:40:11,160 --> 00:40:13,440
Speaker 3: Yes, but I didn't know how to do it about it,

704
00:40:14,480 --> 00:40:17,399
Speaker 3: And I thought, well, hang on, everybody's got like some

705
00:40:17,600 --> 00:40:21,759
Speaker 3: crazy uncle that when drunk will play boogie boogie on

706
00:40:21,840 --> 00:40:24,799
Speaker 3: the piano. So I thought, well, I can be that

707
00:40:24,840 --> 00:40:27,719
Speaker 3: guy playing boogie woogie in the piano and just orchestrated

708
00:40:27,760 --> 00:40:31,360
Speaker 3: and shoved in front of a bunch of very good players.

709
00:40:31,960 --> 00:40:34,719
Speaker 3: So that's how that score came about. Here's the thing.

710
00:40:34,880 --> 00:40:39,600
Speaker 3: Penny was a huge influence because she left having a chat,

711
00:40:39,880 --> 00:40:43,440
Speaker 3: especially between the hours of three am and seven.

712
00:40:43,640 --> 00:40:45,160
Speaker 1: I had some chats with Penny.

713
00:40:45,040 --> 00:40:48,000
Speaker 3: Right, okay, So so since I was one of the

714
00:40:48,040 --> 00:40:51,200
Speaker 3: few pans and musicians, therefore I was up and I

715
00:40:51,239 --> 00:40:54,760
Speaker 3: would use those charts. For instance, I remember one Penny,

716
00:40:54,960 --> 00:40:58,640
Speaker 3: how do you make a good movie? That's easy. All

717
00:40:58,719 --> 00:41:02,839
Speaker 3: you have to do is protect your star. And by

718
00:41:02,880 --> 00:41:06,520
Speaker 3: that I don't mean the actor, I mean your main character.

719
00:41:06,920 --> 00:41:09,480
Speaker 3: Don't let him say anything that's out of character, coming

720
00:41:09,480 --> 00:41:11,840
Speaker 3: off his mouth, don't let him wear anything that's not

721
00:41:12,000 --> 00:41:15,680
Speaker 3: in character, don't have his hair be stupid. Because when

722
00:41:15,719 --> 00:41:18,520
Speaker 3: you know what your main character is, then the rest

723
00:41:18,560 --> 00:41:21,960
Speaker 3: of the story will group around it. And I thought

724
00:41:22,239 --> 00:41:23,600
Speaker 3: that makes perfect sense.

725
00:41:23,880 --> 00:41:26,200
Speaker 1: Yeah, now what about with ron Howard? I mean, the

726
00:41:26,239 --> 00:41:30,080
Speaker 1: Frost Nixon thing is obviously a very dry, very powdery

727
00:41:30,200 --> 00:41:31,520
Speaker 1: kind of a drama, you know what I mean?

728
00:41:31,680 --> 00:41:33,960
Speaker 3: Oh, man, that was a tough one.

729
00:41:34,000 --> 00:41:36,719
Speaker 1: I mean O'shan and Frank. I mean, Frank is just

730
00:41:36,840 --> 00:41:41,320
Speaker 1: such a wonderful malvolioesque, you know, kind of presence and

731
00:41:41,360 --> 00:41:43,960
Speaker 1: everything he does, he just drips with a kind of danger.

732
00:41:44,120 --> 00:41:46,040
Speaker 1: You know what did Ronnie tell you he wanted for

733
00:41:46,080 --> 00:41:46,520
Speaker 1: that film?

734
00:41:46,880 --> 00:41:49,399
Speaker 3: We all loved the play. And you know that's back

735
00:41:49,440 --> 00:41:51,200
Speaker 3: to Peter Margan and the crowd. I mean, that's a

736
00:41:51,239 --> 00:41:55,799
Speaker 3: Peter Margen thing. So ostensibly we had a meeting every

737
00:41:55,880 --> 00:41:58,520
Speaker 3: day for two weeks before he went out shooting to

738
00:41:58,640 --> 00:42:02,120
Speaker 3: talk about the song, to make the songs, to be

739
00:42:02,239 --> 00:42:04,239
Speaker 3: the right thing for the era. And I don't think

740
00:42:04,280 --> 00:42:06,719
Speaker 3: we actually got any songs in it. You know, I

741
00:42:06,760 --> 00:42:09,000
Speaker 3: would go, well, if you give me this close up,

742
00:42:09,040 --> 00:42:11,279
Speaker 3: I can give you this piece of music. Oh, I

743
00:42:11,320 --> 00:42:15,239
Speaker 3: can do something like this, and you know, so for

744
00:42:15,320 --> 00:42:18,600
Speaker 3: two weeks we sort of worked out camera moves and

745
00:42:18,640 --> 00:42:22,760
Speaker 3: we've worked out how to transform a play into a movie.

746
00:42:23,160 --> 00:42:26,400
Speaker 1: Now. One of the junctures in which I intersected with

747
00:42:26,480 --> 00:42:31,680
Speaker 1: your movie was a documentary series called Evidence of Revision.

748
00:42:31,960 --> 00:42:37,600
Speaker 1: It's considered the Citizen Kane of JFK Conspiracy Films. It's

749
00:42:37,719 --> 00:42:41,680
Speaker 1: nine hours long, divided into five parts. I'm listening to

750
00:42:41,760 --> 00:42:46,480
Speaker 1: this and this music comes on and I'm going, oh man,

751
00:42:46,719 --> 00:42:52,160
Speaker 1: this music is so fucking beautiful, and it's the last Samurai. Now.

752
00:42:52,200 --> 00:42:56,360
Speaker 1: He sampled a couple of your pieces for this thing, Hannibal.

753
00:42:56,880 --> 00:43:01,680
Speaker 1: He plays to every captive soul, oh yes, and oh

754
00:43:01,719 --> 00:43:05,440
Speaker 1: my god, you just the tears start rolling down your face.

755
00:43:06,040 --> 00:43:09,480
Speaker 3: There's a big story involved for a Telly piece. Why

756
00:43:09,640 --> 00:43:14,359
Speaker 3: it's worth making movies? To me, Ridley had just come

757
00:43:14,440 --> 00:43:17,880
Speaker 3: back from Florence, I think, to finished shooting the movie.

758
00:43:18,000 --> 00:43:22,920
Speaker 3: It's Sunday night, eleven o'clock in the evening at Fox

759
00:43:23,000 --> 00:43:25,920
Speaker 3: in the cutting room, and it's Ridley, it's Pietro Scalia,

760
00:43:26,000 --> 00:43:30,280
Speaker 3: the editor, and me and the picture on the avit

761
00:43:30,360 --> 00:43:34,600
Speaker 3: is parked on a tear running down Claric Starling's face.

762
00:43:35,960 --> 00:43:39,000
Speaker 3: And I say to him, to both of them, I say, well,

763
00:43:39,520 --> 00:43:41,600
Speaker 3: she's crying because she's in love with him and she

764
00:43:41,680 --> 00:43:44,560
Speaker 3: has to betray him now, and really goes no, no, no,

765
00:43:45,040 --> 00:43:47,960
Speaker 3: it's a tear of disgust. It's disgusted this.

766
00:43:48,160 --> 00:43:50,839
Speaker 1: Monthster when he has her up against the refrigerator.

767
00:43:50,960 --> 00:43:54,600
Speaker 3: Yeah, exactly, exactly right. So this goes on, So it

768
00:43:54,640 --> 00:43:57,880
Speaker 3: gets more and more heat in this conversation, and finally

769
00:43:57,960 --> 00:44:01,279
Speaker 3: we're standing and three grown men at eleven o'clock at

770
00:44:01,360 --> 00:44:04,080
Speaker 3: night on a Sunday are shouting at each other about

771
00:44:04,160 --> 00:44:07,000
Speaker 3: the meaning of a tear on a woman's face. And

772
00:44:07,040 --> 00:44:08,960
Speaker 3: I had one of those we had moments, you know

773
00:44:09,000 --> 00:44:11,520
Speaker 3: where the camera pulls back and I see us all

774
00:44:11,640 --> 00:44:17,320
Speaker 3: I thought, what a great job we are discussing Julie.

775
00:44:18,840 --> 00:44:21,560
Speaker 3: And I'm going, this is the most important thing to

776
00:44:21,680 --> 00:44:24,160
Speaker 3: us at this moment. And that's what this piece is about.

777
00:44:24,320 --> 00:44:27,040
Speaker 3: Because I said, Okay, Reddy, this is what I'm going

778
00:44:27,080 --> 00:44:31,000
Speaker 3: to do. I'm going to write the whole score is

779
00:44:31,080 --> 00:44:35,880
Speaker 3: going to be a romantic comedy. And he's going, okay, fine,

780
00:44:35,920 --> 00:44:39,280
Speaker 3: all right, if you can pull that off, fine romantic comedy.

781
00:44:39,640 --> 00:44:41,680
Speaker 3: So that is my big love theme.

782
00:44:42,080 --> 00:44:44,399
Speaker 1: What's the movie of yours. You watch, will you sit

783
00:44:44,440 --> 00:44:46,560
Speaker 1: there when it's screens and you go, you know, it's

784
00:44:46,560 --> 00:44:49,479
Speaker 1: not that bad. Actually it's pretty good. It really does work.

785
00:44:50,480 --> 00:44:52,919
Speaker 3: Yeah, I know, I'm binary. It's shit. It's not shit.

786
00:44:53,120 --> 00:44:55,000
Speaker 3: I think they could all do with a bit of

787
00:44:55,040 --> 00:45:00,480
Speaker 3: a do over, an improvement. But I tell you the

788
00:45:00,560 --> 00:45:03,160
Speaker 3: opening to The Lion King, I mean, it was really

789
00:45:03,200 --> 00:45:06,880
Speaker 3: important to me. I wanted that African voice. My friend Lebo,

790
00:45:07,000 --> 00:45:10,000
Speaker 3: who I discovered at a car wash, he was a

791
00:45:10,000 --> 00:45:12,279
Speaker 3: political refuge to you, but he was working at a

792
00:45:12,320 --> 00:45:16,200
Speaker 3: car wash. I said, come and just come and do

793
00:45:16,280 --> 00:45:19,200
Speaker 3: this thing. And you know, like within the first notes,

794
00:45:19,560 --> 00:45:21,960
Speaker 3: you know you're now not in Kansas anymore.

795
00:45:22,280 --> 00:45:24,399
Speaker 1: What advice do you have for people who you're working

796
00:45:24,400 --> 00:45:26,160
Speaker 1: with who are young people who want to because I'm

797
00:45:26,160 --> 00:45:29,440
Speaker 1: assuming that actors can come and go they have their

798
00:45:29,600 --> 00:45:35,080
Speaker 1: houseyon period, writers, directors, but it seems like composers, when

799
00:45:35,120 --> 00:45:37,439
Speaker 1: you hit it you can stay there for a very

800
00:45:37,560 --> 00:45:40,360
Speaker 1: long time. Your career has been a very long time

801
00:45:40,440 --> 00:45:43,160
Speaker 1: now and you've stayed at the top of this business

802
00:45:43,200 --> 00:45:45,160
Speaker 1: for a very long time. What advice do you have

803
00:45:45,239 --> 00:45:46,799
Speaker 1: for people who want to get into that part of

804
00:45:46,800 --> 00:45:48,560
Speaker 1: the business, Just say.

805
00:45:48,400 --> 00:45:51,239
Speaker 3: Yes, you know, like when Penny Marshall says, do you

806
00:45:51,400 --> 00:45:56,319
Speaker 3: not do a movie about baseball and swing? Go yes,

807
00:45:56,600 --> 00:45:59,000
Speaker 3: I know nothing about it. Just be honest, I know

808
00:45:59,080 --> 00:46:02,000
Speaker 3: nothing about it. Sounds interesting, right, you know?

809
00:46:03,280 --> 00:46:03,839
Speaker 1: Hold yes.

810
00:46:04,320 --> 00:46:07,080
Speaker 3: I remember being on the phone with Ron, just out

811
00:46:07,120 --> 00:46:09,879
Speaker 3: of courtesy. Right at the end. I thought I should say, well,

812
00:46:09,920 --> 00:46:12,960
Speaker 3: what are you working on? And he said the Da

813
00:46:13,040 --> 00:46:16,799
Speaker 3: Vinci Code. I'm going, oh my god, it's like run

814
00:46:16,920 --> 00:46:20,719
Speaker 3: on monologue. It's totally uncinematic. How can you? I mean,

815
00:46:20,760 --> 00:46:23,480
Speaker 3: how are you going to do that? And it's a phenomena.

816
00:46:23,680 --> 00:46:26,359
Speaker 3: How are you going to deal with the phenomena? And

817
00:46:26,400 --> 00:46:29,840
Speaker 3: he goes, yeah, I know. And ten minutes later, my

818
00:46:29,880 --> 00:46:31,960
Speaker 3: agent fil to me. He goes, what did you say

819
00:46:31,960 --> 00:46:36,200
Speaker 3: to Ron? I'm sorry. I know he's setting off on

820
00:46:36,239 --> 00:46:39,759
Speaker 3: this journey and I just probably really, like, you know,

821
00:46:40,200 --> 00:46:42,359
Speaker 3: made it even worse for him. He goes, no, no, no,

822
00:46:42,480 --> 00:46:44,600
Speaker 3: he wants you to do the film. He wants you

823
00:46:44,680 --> 00:46:48,400
Speaker 3: to solve it for him, you know. And it gave

824
00:46:48,520 --> 00:46:52,719
Speaker 3: me a year of being able to immerse myself in

825
00:46:52,960 --> 00:46:56,520
Speaker 3: art and in literature and to hang out at the

826
00:46:56,560 --> 00:46:57,560
Speaker 3: Louver at night.

827
00:46:58,000 --> 00:47:00,640
Speaker 1: You know, this is why people say to me, why

828
00:47:00,719 --> 00:47:02,840
Speaker 1: am I on the border the Philharmonic, I said. The

829
00:47:02,960 --> 00:47:08,080
Speaker 1: movies often disappoint me, The theater sometimes disappoint me. The

830
00:47:08,160 --> 00:47:11,719
Speaker 1: symphony never disappoints me. When now I go see the

831
00:47:11,719 --> 00:47:14,080
Speaker 1: New York Philharmonic play, I'm never disappointed.

832
00:47:14,239 --> 00:47:14,919
Speaker 3: Absolutely.

833
00:47:15,400 --> 00:47:18,440
Speaker 1: Your music. Is there a joint ownership of that movie

834
00:47:18,480 --> 00:47:21,360
Speaker 1: and the publishing rights and so forth for the soundtrack,

835
00:47:21,400 --> 00:47:23,239
Speaker 1: album and so forth? Do you have some control or

836
00:47:23,239 --> 00:47:25,600
Speaker 1: do the studio? Is it a buyout and they own it?

837
00:47:25,920 --> 00:47:30,640
Speaker 3: They own it. But there's a law that says you

838
00:47:30,640 --> 00:47:34,520
Speaker 3: are allowed to perform anything you want to perform, all right,

839
00:47:35,000 --> 00:47:38,759
Speaker 3: So I think it would be heenous to not be

840
00:47:38,880 --> 00:47:42,839
Speaker 3: able to own my life. Wow, you know, because that's

841
00:47:42,840 --> 00:47:45,319
Speaker 3: really what it is, isn't it. I mean, you know

842
00:47:45,480 --> 00:47:47,920
Speaker 3: that thing Bernardo said to me. You know, as the

843
00:47:47,960 --> 00:47:51,560
Speaker 3: seconds of life are taking away, we are creating these things.

844
00:47:51,760 --> 00:47:52,000
Speaker 3: You know.

845
00:47:52,360 --> 00:47:54,360
Speaker 1: Had an actor turned to me once he said to me,

846
00:47:54,840 --> 00:47:56,440
Speaker 1: you're gonna go back to your trailer, I said it.

847
00:47:56,560 --> 00:47:58,320
Speaker 1: He goes, Why do you go to your trailer?

848
00:47:58,440 --> 00:47:58,759
Speaker 3: He said?

849
00:47:58,760 --> 00:48:00,680
Speaker 1: The sets where you want to be even when you're

850
00:48:00,680 --> 00:48:02,839
Speaker 1: not shooting, he said, pull up a chair, he goes.

851
00:48:02,960 --> 00:48:06,360
Speaker 1: Just be a part of it. Absolutely, Just watch them shoot,

852
00:48:06,520 --> 00:48:09,280
Speaker 1: And as I've gotten older, when I read a script,

853
00:48:09,280 --> 00:48:11,680
Speaker 1: I say to myself, could I stay on the set

854
00:48:11,760 --> 00:48:14,600
Speaker 1: during the entire shooting process of this movie and just

855
00:48:14,640 --> 00:48:17,239
Speaker 1: be a witness and watch them do this movie? Do?

856
00:48:17,280 --> 00:48:19,640
Speaker 1: I love it that much? And that's become a metric

857
00:48:19,719 --> 00:48:22,480
Speaker 1: for me. Actually, and I spend far more time on

858
00:48:22,560 --> 00:48:24,080
Speaker 1: the set now than I used to. I never go

859
00:48:24,120 --> 00:48:25,600
Speaker 1: to my trailer anymore. Is too boring.

860
00:48:26,120 --> 00:48:29,040
Speaker 3: I think my whole career is based on I would

861
00:48:29,040 --> 00:48:33,160
Speaker 3: always hang around and be the guy asking the stupid questions.

862
00:48:33,239 --> 00:48:36,000
Speaker 3: You know, not be afraid. Why are you doing it

863
00:48:36,080 --> 00:48:39,000
Speaker 3: like that? You know, tell me, explain this part to

864
00:48:39,080 --> 00:48:42,320
Speaker 3: me or whatever. You know, everything informs everything.

865
00:48:42,560 --> 00:48:46,040
Speaker 1: But you nailed it when you said this is our lives.

866
00:48:46,360 --> 00:48:48,000
Speaker 1: We spent our lives doing this.

867
00:48:48,080 --> 00:48:50,840
Speaker 3: It is our lives. And that's what Parrell and Johnny

868
00:48:50,880 --> 00:48:54,440
Speaker 3: mob were so right about that I should stop hiding that,

869
00:48:54,520 --> 00:48:58,080
Speaker 3: I should do things in real time, be on a stage.

870
00:48:58,360 --> 00:49:00,680
Speaker 3: If I'm going to have a pratfall. Yes, if I

871
00:49:00,719 --> 00:49:04,799
Speaker 3: go Hello Oslo in Stockholm, they will forgive me.

872
00:49:05,440 --> 00:49:08,040
Speaker 1: Let me just finish by saying this, as you're scoring

873
00:49:08,160 --> 00:49:11,440
Speaker 1: the sequel to Boss Baby, please make me look funny,

874
00:49:11,480 --> 00:49:14,000
Speaker 1: made me look smart, made me look powerful. Okay, when

875
00:49:14,000 --> 00:49:15,880
Speaker 1: you're writing the music, just have that in mind. If

876
00:49:15,920 --> 00:49:17,560
Speaker 1: you don't mind made me look.

877
00:49:17,400 --> 00:49:21,359
Speaker 3: Powerful, we have not only have we fulfilled that free

878
00:49:21,560 --> 00:49:25,680
Speaker 3: fuck you know you getting away with that line. I

879
00:49:25,760 --> 00:49:29,360
Speaker 3: have a beautiful voice. I mean, just start at pausing,

880
00:49:30,200 --> 00:49:33,839
Speaker 3: just have your voice, just let it lay there, let

881
00:49:33,880 --> 00:49:35,560
Speaker 3: them all be enthralled.

882
00:49:35,880 --> 00:49:38,680
Speaker 1: Well, listen, thank you. You're one of the greats man.

883
00:49:38,719 --> 00:49:41,600
Speaker 1: I mean, your movie scores are just I mean, these

884
00:49:41,640 --> 00:49:43,839
Speaker 1: people that you work with, they're lucky to have you. Boy,

885
00:49:43,920 --> 00:49:44,960
Speaker 1: what a difference you make.

886
00:49:45,280 --> 00:49:46,520
Speaker 3: It's just been a pleasure.

887
00:49:50,000 --> 00:49:54,200
Speaker 1: Composer Hans Zimmer. This is from the motion picture The

888
00:49:54,280 --> 00:49:58,239
Speaker 1: Last Samurai. I'm Alec Baldwin. And this is here's the

889
00:49:58,280 --> 00:50:00,359
Speaker 1: thing from iHeart Video

890
00:51:06,160 --> 00:51:06,200
Speaker 4: U