Speaker 1: This is Alec Baldwin, and you were listening to Here's
Speaker 1: the Thing from My Heart Radio. It's officially summer, and
Speaker 1: that means it's time for our tradition at Here's the Thing,
Speaker 1: where our staff shares their favorite episodes in our Summer
Speaker 1: Staff series. Next up is our producer, Zach McNeice.
Speaker 2: Thanks Alec. Whether you're a casual movie fan or a
Speaker 2: true cinema junkie like me, the name Hans Zimmer is
Speaker 2: no doubt synonymous with some of the most loved and
Speaker 2: awarded films of the past thirty years. He's an artist
Speaker 2: whose work speaks for itself. So without further ado, here's
Speaker 2: Alex's conversation with Hans Zimmer.
Speaker 1: The score of a movie has a way of enriching
Speaker 1: a film's emotional journey, from the profound to the playful.
Speaker 1: It is often an unconscious part of why the feeling
Speaker 1: of a movie stays with us long after we leave
Speaker 1: the theater. My guest today is one of the all
Speaker 1: time masters of film composition, Hans Zimmer. He scored more
Speaker 1: than one hundred and fifty movies, including Gladiator, Hannibal, Sherlock Holmes,
Speaker 1: The Last Samurai, The Thin Red Line, and many many more.
Speaker 1: Hans Zimmer's work has earned him an Academy Award for
Speaker 1: The Lion King, two Golden Globes, and countless more nominations.
Speaker 1: In two thousand and five, hans Zimmer began working with
Speaker 1: director Christopher Nolan. It's become one of the most celebrated
Speaker 1: partnerships in movie history. For Nolan, Zimmer has scored the
Speaker 1: Dark Knight trilogy, Interstellar, Dunkirk, and Inception, which features this
Speaker 1: song time. Hans Zimmer's work spans an eclectic range of
Speaker 1: feature films, television, and documentaries. I wanted to know whether
Speaker 1: his scoring process is different when he works on animated films.
Speaker 3: All directors are different from each other. But I once
Speaker 3: was invited to a dinner party and at the end
Speaker 3: of the table sat Terrence Malick and Vana Hatsuk. You know,
Speaker 3: everybody's talking at the long table, and then suddenly everybody
Speaker 3: stops talking, and it's just the two great artists chatting,
Speaker 3: and they're arguing about which Q and Lion King is better.
Speaker 3: You know, these two admirable auteurs are arguing about Lion King,
Speaker 3: you know, about a kid's movie. So the weird thing is,
Speaker 3: you know, I can talk to Tarry Mallik about animation,
Speaker 3: and I can talk to Tom mcgrass, our director on
Speaker 3: Boss Baby about Thin Red Line, you know, and in
Speaker 3: one way or the other, it's sort of the same thing.
Speaker 3: Other than that, you can get away with a lot
Speaker 3: more animation. I find, you know, you and I in
Speaker 3: a peculiar way, we give life to something that doesn't
Speaker 3: have life. I mean, it's, you know, the whole point
Speaker 3: about animation, especially now with CG, where things have gotten
Speaker 3: so refined and they can do such amazing things, but
Speaker 3: the one thing they can't do, they can't really truly
Speaker 3: breathe life into it, and so ultimately that the only
Speaker 3: real performance is the actors and the musicians. And for instance,
Speaker 3: what we did on the last Lion King movie. You know,
Speaker 3: we did a remake, and I thought, wh am I
Speaker 3: going to do a remake, And I thought, everybody knows
Speaker 3: the tunes. Everybody in the orchestra noticed the tunes. All
Speaker 3: my musicians and know the tunes. I'm going to spend
Speaker 3: a week pretending I'm recording little cues, and in the
Speaker 3: last two days I'm literally going to make it about okay,
Speaker 3: We're going to run the movie from the beginning to
Speaker 3: the end, and you're going to just hold on for
Speaker 3: dear life, and we're going to recall the whole thing
Speaker 3: as a performance, because I wanted to have that, you know,
Speaker 3: the thing that you get in a live performance, the
Speaker 3: thing you get in a theater genius mixed with fear
Speaker 3: and catastrophe.
Speaker 1: Well, we've had people talk to us and they have
Speaker 1: careers and whatever, editing or or what have you. And
Speaker 1: I'm curious, not in a relationship, let's say with Nolan,
Speaker 1: where you've made a few films with him, or you've
Speaker 1: made a couple with Nancy and this is two boss
Speaker 1: babies and so forth. But on your maiden voyage with Nolan,
Speaker 1: does he send you the script and you start to
Speaker 1: get in conversation with him the type of score he
Speaker 1: wants and you start to like riff little things before
Speaker 1: or do you only really get concretized about it until
Speaker 1: you see cut footage.
Speaker 3: Let's talk about Chris and my working method, and I
Speaker 3: think we set off on the wrong foot right away
Speaker 3: because he wanted me to do Batman, and I kept
Speaker 3: saying I don't want to do Batman, and Fanny, he said,
Speaker 3: why don't you do Batman? I said, I know how
Speaker 3: to be the dark Night, but I don't know how
Speaker 3: to be Bruce Wayne. And he said, that's easy. Get
Speaker 3: a friend and to be the other character. You don't
Speaker 3: have to be schizophrenic. So I ask my friend Jameson Howard,
Speaker 3: who is one of the most elegant composers in the world,
Speaker 3: to be light and let me be my Germanic darkness.
Speaker 3: And then I was working on something in Los Angeles.
Speaker 3: Chris was shooting in London, and he has a way
Speaker 3: of being very persuasive. He's going, well, yes, I got
Speaker 3: this shot of Batman standing on top of a building,
Speaker 3: and I don't quite know how to get him there
Speaker 3: because I don't want to temper it. But is there
Speaker 3: something that you can just I mean, it doesn't have
Speaker 3: to be good, just give me something that gets him
Speaker 3: up there. And so the first time James and I
Speaker 3: saw the movie, it had all our rotten little demos
Speaker 3: in it. But if you go to something like Inception,
Speaker 3: I remember Chris phoning me and he's going, hey, do
Speaker 3: you want to come down to the beach with the kids.
Speaker 1: Is that how he puts it?
Speaker 3: He's stuck, yeah, yeah.
Speaker 1: When he needs the music for his movie, let's go
Speaker 1: down to the beach with the kids. Well, I think
Speaker 1: that's great. I'm gonna try that. I'm gonna call Spielberg
Speaker 1: and say, let's go down to the beach with the kids.
Speaker 3: But it worked. He realized that this idea of the
Speaker 3: different times in the different dream states was very complicated
Speaker 3: to an audience, and I said, look to a musician,
Speaker 3: it's the easiest thing, because that's what we do all
Speaker 3: the time. You know, you have a bar and you're
Speaker 3: divide it into four quarter notes, and you can divide
Speaker 3: that time off the four quarter notes into eight notes,
Speaker 3: et cetera, and you just keep dividing down and play.
Speaker 3: You're always playing this time. So I think at the
Speaker 3: end of the day, it doesn't matter if the audience
Speaker 3: ever gets the intellectual conceit of the movie. But just
Speaker 3: think of me like a river and the audience is
Speaker 3: on a little boat, and I take you downstream with
Speaker 3: the story. And sometimes it's going to get a little rocky,
Speaker 3: and sometimes it's going to get a little boring, but
Speaker 3: you sort of know you can trust the river to
Speaker 3: take you on this journey and take you to the end.
Speaker 3: So Chris loved that, and we do think very similarly.
Speaker 3: I mean, I remember him phoning me from Iceland, so
Speaker 3: I hadn't seen any footage, right, I just about read
Speaker 3: the scripts. He phoned me from Iceland. He's explaining the scene,
Speaker 3: which is and then you have to hit this shot,
Speaker 3: and then this, and this is the most important scene
Speaker 3: in the movie. Our lead character is basically seeing his
Speaker 3: whole family through the years, and he's starting to cry
Speaker 3: at a certain moment. You know, I have to be poignant,
Speaker 3: and I find you. Said to Chris, Chris, I don't
Speaker 3: think I can just do this. I don't think I
Speaker 3: could wing it without some footage. And I remember all
Speaker 3: these cuts in my head. And he says, our sense
Speaker 3: of time, our sense of aesthetics seems to be very similar.
Speaker 3: Just write it, send it to me. If it doesn't work,
Speaker 3: i'll send you the picture. Well, unfortunately it worked. Yeah.
Speaker 3: I phoned him. I said, how is it? He goes, well,
Speaker 3: it's within two frames where I can go and adjust that.
Speaker 3: So then he finishes shooting and I'm going, Okay, show
Speaker 3: me the movie. He's going, you know, it's going really
Speaker 3: rather well. You know, you imagining my movie and writing freely,
Speaker 3: At which point I started to just send him pieces
Speaker 3: of music without telling him what they were for. I
Speaker 3: wouldn't write anything on them. I just send him music.
Speaker 3: But I very strongly, having read the script, knew what
Speaker 3: they were for. And I was praying and hoping. There's
Speaker 3: a shot in there where Marion Cottier is on a
Speaker 3: ledge and her shoe drops just so, and I was
Speaker 3: so hoping that this piece I sent for him was
Speaker 3: going to end up in that spot. And then months
Speaker 3: down the road, when I first saw it, there it was,
Speaker 3: and he absolutely got it. So we have this language
Speaker 3: without words, because I think what is really important with
Speaker 3: music is that to me, it's an autonomous language. I
Speaker 3: am speaking to you in English, which obviously is not
Speaker 3: my mother tongue, as you might detect from the horrible accent.
Speaker 3: But if I were to speak to you in a
Speaker 3: couple of chords, I feel unsafer ground and I feel
Speaker 3: more articulate. So that's how Chris and I kept working.
Speaker 3: We kept coming up with crazy you know. We did
Speaker 3: a list, for instance, for Interstellar, of what are the
Speaker 3: things we haven't done, you know, and we would cross
Speaker 3: off big drums, or I did that one, big horns, Oh,
Speaker 3: we did that one. And then Chris said, what about
Speaker 3: pipeworgan and that became that, you know, because, as he
Speaker 3: said it, this is a movie about space and rockets
Speaker 3: and all that stuff. I mean, I saw the shape
Speaker 3: of the par argument at the same time I saw
Speaker 3: the afterburner of rockets, and I thought both are fabulous
Speaker 3: pieces of technology.
Speaker 1: Now with Nolan, do you feel that your task is
Speaker 1: to help them understand and help yourself understand what they want?
Speaker 1: Have you ever had conflicts with director where you said
Speaker 1: I don't agree.
Speaker 3: How much truth would you like?
Speaker 1: Well, I mean my rule on this show is I
Speaker 1: don't want.
Speaker 3: To ruin my career.
Speaker 1: Your career can't be ruined. What I'm asking is are
Speaker 1: you there to perform what they want? Or do you
Speaker 1: consult with them?
Speaker 3: The director has to trust his composer, and ultimately the
Speaker 3: composer needs to go and buy into the direct decision.
Speaker 3: But music is indefensible. I can write you something and
Speaker 3: play it to you and I think it's the greatest
Speaker 3: fucking thing. And I just answered every question you ever
Speaker 3: had about your character or whatever, and you don't get it.
Speaker 3: It doesn't resonate. So there's no way I can sit
Speaker 3: there and explain to you why you should like it
Speaker 3: and either resonates or it doesn't. That's number one. The
Speaker 3: other thing is I like working with directors who spend
Speaker 3: a minimum of time talking to me about what music
Speaker 3: they want, because as soon as they start talking to
Speaker 3: me about what music they want, my mind goes off
Speaker 3: into that thing of going My job is to do
Speaker 3: something that they can't even imagine. My job is to
Speaker 3: knock their socks off. My job is to do something
Speaker 3: that is so beyond anything that they could do because
Speaker 3: otherwise said do it themselves, and you know, and it
Speaker 3: makes me rather redundant or it makes me a musical secretarime.
Speaker 1: Do you think that someone to use a more celebrated example,
Speaker 1: because everybody knows the story about Alex north composition for
Speaker 1: a Space out of Sea?
Speaker 3: Yeah?
Speaker 1: Do you think that someone like Kubrick lunged in the
Speaker 1: direction of the classical repertoire because he knew what the
Speaker 1: music was. He didn't have to wait for somebody to
Speaker 1: write it there? It is extant, it's real. I know,
Speaker 1: I want, you know, fun carry on with the with
Speaker 1: the vienna and this and that, just play the Blue
Speaker 1: Danube and he doesn't have to rely on anybody do
Speaker 1: you find that there were some directors who they just
Speaker 1: don't want to keep that control.
Speaker 3: Well, well it's not sad, you know. I mean, first
Speaker 3: of all, I should let you know that Stanley Kubrick
Speaker 3: was the first director that ever fired me, what film
Speaker 3: Full Metal Jacket, and Vivian, his daughter, took over. But
Speaker 3: it became this weird, strange thing. So I was really
Speaker 3: I mean I was maybe eighteen nineteen, and but as
Speaker 3: soon as I was fired, in other words, because I
Speaker 3: didn't know how to do what he wanted me to do.
Speaker 3: Because Stanley Kubrick knew everything, he had studied drumming with
Speaker 3: Gene Kruper. He just wanted me to be his musical secretary.
Speaker 3: And I'm not very good at that. Take dictation, yeah, absolutely,
Speaker 3: take dictation. I mean I would get these tape sent
Speaker 3: drumming with ten fingers on his tabletop and go, well,
Speaker 3: get a drummer to do exactly that, and you know,
Speaker 3: so that didn't work. But then once I was officially fired,
Speaker 3: I would get these phone calls where he would go,
Speaker 3: I think Vivian's in a bit of trouble. Can you
Speaker 3: go up there and see if she's all right? Or
Speaker 3: he'd go what do you think of Dolby Stereo. I'm
Speaker 3: eighteen years old, you know, I have no idea. I'm
Speaker 3: talking to Stanley Cooper.
Speaker 1: How did you end up? I mean, you're eighteen years old.
Speaker 1: How does an eighteen year old Hans Zimmer wind up
Speaker 1: within fifty miles of Stanley Cooprick? How did that happen?
Speaker 3: Anton first has designer who knew me. They were shooting
Speaker 3: for Metal Jacket in the docklands of London, and I
Speaker 3: knew Vivian, who then took over, and so I was
Speaker 3: really helping Vivian and a son. And then years later
Speaker 3: I ran into Vivian and I was just on my
Speaker 3: way to London. She said, oh, you really should go
Speaker 3: and see Dad. I'm going Why would I go and
Speaker 3: see you? And she goes, no, no, no, He's always
Speaker 3: talking about you. Whenever movie comes on television that you did.
Speaker 3: He's always saying I found him. I was the first
Speaker 3: one who gets he forgets the other part, you know.
Speaker 3: And it was really busy and I had to go
Speaker 3: down to Australia from London, so I didn't go and
Speaker 3: see him because I thought that Stanley Kubrick is beyond
Speaker 3: his immortal you know, because he was Stanley Kubridge. And
Speaker 3: I get to Australia, I get to Sydney and the
Speaker 3: guy who's picking me up from the airport coincidentally was
Speaker 3: a chap who I'd met on Full Metal Jacket, and
Speaker 3: he's got a really sad face. And I realized that,
Speaker 3: you know, Stanley had died, which was inconceivable to reach sure.
Speaker 3: And I learned, don't say no if somebody says, hey,
Speaker 3: come on over, interesting, you know, you come over. And
Speaker 3: I learned a lot from him. I learned vast things
Speaker 3: from him.
Speaker 1: You know, this is music from the film Chappie. Han
Speaker 1: Zimmer discovered his musical talent very early in life. Another
Speaker 1: one of our guests who took music seriously at a
Speaker 1: very young age is classical pianist Long Long. He was
Speaker 1: a musical prodigy, winning his first competition when he was five.
Speaker 1: Long Long and I spoke before a live audience in
Speaker 1: New York City in twenty nineteen. He talked about his
Speaker 1: father's skepticism of playing in competitions.
Speaker 4: He discouraged me to do competitions, and I was like, wow,
Speaker 4: did he say why? Yeah, he said that you're too
Speaker 4: crazy about being number one. And you are not really
Speaker 4: focus on what you should be, you know, learning the
Speaker 4: repertoire and to He said, do you want to become
Speaker 4: a great musician or you want to just win the prize?
Speaker 4: And I said, oh, I said, is that not the same?
Speaker 4: I said, what's the different? I said, if I don't
Speaker 4: win a prize, how I'm going to become a great musician.
Speaker 1: Here the rest of my conversation with celebrated pianist Long
Speaker 1: long A Here's the Thing dot org. After the break,
Speaker 1: hans Zimmer talks about how he went from playing dingy
Speaker 1: clubs around England and making coffee for composer Stanley Myers
Speaker 1: to realizing what he wanted to do for the rest
Speaker 1: of his life. If you're enjoying this conversation, tell a
Speaker 1: friend and be sure to follow Here's the Thing on
Speaker 1: the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.
Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing.
Speaker 1: This piece is from the film Twelve Years a Slave.
Speaker 1: Hans Zimmer was born in Frankfurt, Germany. He's largely self taught,
Speaker 1: and even as a child, understood a strong connection between
Speaker 1: music and mood.
Speaker 3: Well, my father died when I was six, and I
Speaker 3: already played the piano, and I enjoyed playing the piano.
Speaker 3: But my father died and I realized the only thing
Speaker 3: that made my mother happy, that put a smile on
Speaker 3: her face was when I played the piano. So I
Speaker 3: sort of took on that bird, which then, of course
Speaker 3: backfired because at school I was appalling in everything other
Speaker 3: than playing music. I got thrown out of nine schools.
Speaker 3: Ultimately I ended up in school in England, a fabulous
Speaker 3: school called Hertwood House. You know, it was a choice
Speaker 3: to go back to Germany or hang out in Swinging Lundon.
Speaker 3: So by the time of eighteen, I was in the
Speaker 3: back of a fort transit van going up and down
Speaker 3: the m one playing every workingman's club and every city pub.
Speaker 3: There's the eighties. It was crazy, it was amazing. There
Speaker 3: was a company called Working Title. They were making music
Speaker 3: videos and one day Channel four, new television station, came about,
Speaker 3: and Working Title decided, since we don't know how to
Speaker 3: make movies, that's okay, they don't really know that, but
Speaker 3: we'll do something called My Beautiful Laundrette, which was a
Speaker 3: young Daniel da Lewis, and it was an extraordinary anti
Speaker 3: thatcher Rite gay Cross everything you know amazingly, It's just
Speaker 3: mind blowing when nobody saw it coming, and Daniel kisses
Speaker 3: this Indian boy and you could feel the jaws of
Speaker 3: the audience hitting the floor and I loved it.
Speaker 1: So Kubrick and that introduction through full metal. When you're
Speaker 1: eighteen years old, had you worked on any films or
Speaker 1: you've been close to any film sets or studios before that?
Speaker 3: Yes, yeah, no, no, absolutely. I had a mentor Stanley Myers
Speaker 3: that the man who wrote the music for The Deer
Speaker 3: Hunter brilliant man. And so Stanley had this coffee machine.
Speaker 3: He loved his Italian espresso. He had bought an unbelievably
Speaker 3: complicated coffee machine. And so my job was to work
Speaker 3: the coffee machine and Stanley would show me how to
Speaker 3: write for orchestra. And her first day was Stanley Myers
Speaker 3: and Nicholas Rogue sitting there looking at a scene. In
Speaker 3: the morning, I was making coffee and they're both going,
Speaker 3: we have no idea what to do, And by the
Speaker 3: evening they'd come up with a mind blowing, beautiful solution,
Speaker 3: musical solution. And I realized this idea of that you
Speaker 3: have nothing, and that you make something out of nothing,
Speaker 3: and that it is just a conversation and you just
Speaker 3: you just breathed the picture in and turn it into notes.
Speaker 3: That was a fantastic adventure. And then Stanny and I
Speaker 3: had a little studio and Stanny was very good friends
Speaker 3: with the producer Jeremy Thomas, who phoned me up one
Speaker 3: day and said, would I mind coming in on Saturday
Speaker 3: because he had a Riti Sakamoto and Bernardo Bertulucci coming
Speaker 3: in to have a look at what Richi had done
Speaker 3: on the Last Emperor and would I just go and
Speaker 3: run the tape machines for them. So they piled into
Speaker 3: my little studio and it turned out that there was
Speaker 3: a profound lack of communication and Bettu Lucci had recut
Speaker 3: the Last Emperors as flashback, while Sakamoto had scored the
Speaker 3: previous version, which was all in chronological order. And the
Speaker 3: other thing was Saka Roto's idea was that he was
Speaker 3: going to play Banado the stuff have his friend Koji
Speaker 3: recorded at Aby wrote, and he was gone because he
Speaker 3: had a tour start the following day, and so nothing fit.
Speaker 3: So David Byrne from the Talking Heads was the other composer,
Speaker 3: and Kong Su, who was a Chinese composer but had
Speaker 3: studied in Berlin, was another composer on it. So the
Speaker 3: Chinese composer could only speak German, so I was useful
Speaker 3: in this case. And Jeremy said, can you just go
Speaker 3: up to Happy Road and just sort of sort this out?
Speaker 3: You know, we called the orchestra, and I had no
Speaker 3: idea what four M, you know, fifty one whatever. Something
Speaker 3: that was in Real for was now in Real two,
Speaker 3: but I'd never heard and I didn't even know what
Speaker 3: scene it was supposed to go. And Bernada would go,
Speaker 3: why is it getting quiet in the middle of a shot?
Speaker 3: And I'm like tap dancing furiously coming up with excuses
Speaker 3: to sort of not put the blame on Ritisakamoto. It
Speaker 3: really wasn't his fault. So that was really my other introduction. Yeah,
Speaker 3: And it was like, these people look crazy. These people
Speaker 3: are genuinely crazy. And there was one day where Danara
Speaker 3: was working out at Pinewood and there was something had
Speaker 3: gotten the things kept getting lost, are things kept not
Speaker 3: happening or whatever? And he fecked me up at my studio.
Speaker 3: He goes, where are the Chinese death bells? I didn't
Speaker 3: know that we're going to be Chinese deat belts, nor
Speaker 3: did I even know that there is such a thing
Speaker 3: as Chinese death belts. So I said, well, okay, I'm
Speaker 3: really sorry. I'll come right over with that Chinese deathbelts.
Speaker 3: So I made up something on the synthesizer because I thought,
Speaker 3: if I don't know what they sound like, he won't
Speaker 3: know what they sound like. And I came over and
Speaker 3: as I got to Pinewood, Bernardo's walking up and down
Speaker 3: at the gates to the studio and he's like he's
Speaker 3: got his hands beyond his back. And I get out
Speaker 3: of the Carlumn saying, look, I'm really sorry. It wasn't
Speaker 3: my fault. By the way, it really wasn't, you know.
Speaker 3: But I wasn't going to blame anybody. I just went
Speaker 3: fuck it out to it and Banana went, look, I'm
Speaker 3: really sorry. I shouted at you, and he handed me
Speaker 3: a box of chocolates and he said, look, even though
Speaker 3: I'm the DIY director and I'm paying you, I realized
Speaker 3: that the seconds of your life are going by and
Speaker 3: I should be more gracious.
Speaker 1: Wow.
Speaker 3: That taught me something. I mean, the more I worked
Speaker 3: within the film business at these early days, and mostly
Speaker 3: it wasn't so high, and mostly like working title. All
Speaker 3: our cutting rooms were either above a strip club or
Speaker 3: a pawn shop, and you know, and I would run
Speaker 3: up the stairs with my little piece of music and
Speaker 3: sing it up to the picture and hold my breath
Speaker 3: because if the director didn't like it. But at the
Speaker 3: same time I realized it was all entertainment, and should
Speaker 3: it go wrong upstairs, maybe I could get a job
Speaker 3: downstairs at the pawn.
Speaker 1: Shop, you know, or the strip club for that matter.
Speaker 3: Ah, the strip club for that matter, absolutely. And then
Speaker 3: a working title offered me, like the twentieth movie or
Speaker 3: something like this, that it was about the anti apartheid
Speaker 3: movement in South Africa called a World apart Blaba Hershey,
Speaker 3: beautiful film, beautiful film, Chris Inglis. So We're sitting at
Speaker 3: the Grouto Club and I'm getting so what's the budget?
Speaker 3: And Tim Bevan says, we're not telling you what the
Speaker 3: budget is. Your wife is pregnant, and we know what
Speaker 3: you do. You take all the money that you're supposed
Speaker 3: to go and take home with you and you just
Speaker 3: spend it on making the movie sound good. So we're
Speaker 3: not telling you what the budget is this time, So
Speaker 3: you go and do the movie and it's going to
Speaker 3: be all right. So I did the movie, and it
Speaker 3: turned out my daughter was born on the first day
Speaker 3: of working on the film, and they opened an account
Speaker 3: in her name and put the money in there. So,
Speaker 3: you know, whatever you say about the things about filmmaking,
Speaker 3: the you know how cynicure you want to be, there
Speaker 3: are people who are genuinely have a heart. Gentlemen, gentlemen.
Speaker 3: You know. The other thing which I think is so
Speaker 3: vital is Hollywood, with all its cheapness and vulgarity, what
Speaker 3: have you. It's the last place on earth that commissions
Speaker 3: orchestral music on a daily basis, and if we don't
Speaker 3: have that, the orchestras will just die.
Speaker 1: At what point were you immersed in the classic Bernard
Speaker 1: Herman era of film scoring? Did you listen to a
Speaker 1: lot of film scores? And no, none.
Speaker 3: Not at all. I come from one of those snobby
Speaker 3: European families where we went to the opera once a
Speaker 3: week and we had no television because television was considered
Speaker 3: the end of culture as we know it. And I
Speaker 3: remember I snuck into the little local cinema where they
Speaker 3: were playing Once upon a Time in the West, and
Speaker 3: it was just like Ennio Morriconi, Sergio Leone, those shots,
Speaker 3: and I'm going, that's it, that's it, That's what I
Speaker 3: want to do, and there was nothing that could stop
Speaker 3: me from doing this.
Speaker 1: Did you feel at any point that you needed to
Speaker 1: study film itself in order to do your all better?
Speaker 2: No.
Speaker 3: I felt I needed to study mythology. I needed to
Speaker 3: study fairy tales. I needed to study psychology. I needed
Speaker 3: to read like crazy, and I needed to sit down
Speaker 3: and talk to as many dp's as I possibly could,
Speaker 3: because if I was the years, they were the eyes.
Speaker 3: I was the guy who would never go home. I
Speaker 3: was always the kid who was still hanging around in
Speaker 3: the cutting room, you know, just badgering the editor, going
Speaker 3: why are you doing that? Why are you doing this cut?
Speaker 3: And why and how does this work? And you know,
Speaker 3: talking to the DP what colors are you going to use?
Speaker 3: What the tone of this film? Tell me, what the
Speaker 3: color palette is going to be?
Speaker 1: Like knowing as we do now that you know, I
Speaker 1: might watch The Crown in bed on my computer and
Speaker 1: my wife is asleep next to me, and then if
Speaker 1: it's Gladiator, you think let's just blow the fucking roof
Speaker 1: off the theater and it's just blow it out. You know,
Speaker 1: that's forty feet why twenty feet high? Is there a
Speaker 1: difference between scoring for TV and for film?
Speaker 3: Not? There should be, There should be, But I don't
Speaker 3: make a difference. I just I just feel there's a
Speaker 3: right path if somebody has a compelling story. If Peter
Speaker 3: Margen comes to me and he goes, I've given up
Speaker 3: on doing movies, I want to do the Crown. You
Speaker 3: take that very seriously. And Peter's vision is vast.
Speaker 1: And what a juggernaut that's been point. Oh my god.
Speaker 3: Absolutely, I love Peter. I've known him. I've known Peter.
Speaker 3: I want to say, I've known Peter all my life.
Speaker 3: Peter and I speak German. He speaks better German than
Speaker 3: I do. You know. We come from that working title
Speaker 3: camp European cinema. It's really different. I mean I came
Speaker 3: to Hollywood expecting it to be technologically far more advanced
Speaker 3: than Europe, and I expected it to be far more collaborative,
Speaker 3: and it wasn't. The composer worked alone, and he had
Speaker 3: a ghostwriter who would never get a credit. You know,
Speaker 3: it's like an army of ghost writers who never saw
Speaker 3: their names up in light, and I thought, oh, that
Speaker 3: poor boss is going to get their career. You know,
Speaker 3: Stanley Meyers, my mentor. I mean he gave me credits
Speaker 3: straight away. I mean it wasn't a big deal, and
Speaker 3: we would all be in the room together. So I
Speaker 3: learned from Stephen Fears. I learned from Nick Rourke. I
Speaker 3: learned from John Flessinger. I learned from Tarry Malleck.
Speaker 1: You did Pacific Heights.
Speaker 3: We did Pacific Heights.
Speaker 1: I auditioned for that movie. I remember I was involved.
Speaker 1: He did a movie The Believers, Yes, that Marty Sheen did,
Speaker 1: and I was going to do that movie Ellen Barkin
Speaker 1: and I think we're pretty close to getting those jobs.
Speaker 1: And then the casting director cut our throats and got
Speaker 1: rid of us because they felt we were too young.
Speaker 1: I remember, I was just overwhelmed with a passion to
Speaker 1: work with slashinger. What was he like?
Speaker 3: Same with me. Any director who in the middle of
Speaker 3: scoring says, I'm so sorry, but I have to take
Speaker 3: a few days off because I'm directing an opera in Salzburg.
Speaker 3: Is okay with me? Do you know what I mean?
Speaker 3: It's like at the end of all the scoring sessions,
Speaker 3: he made a list of all the quotes of classical
Speaker 3: music I'd used, which was that's great. It was a game.
Speaker 1: But again, knowing that writing music and performing music, what
Speaker 1: happened to when you go and record it and you
Speaker 1: hear it and you go it's that right.
Speaker 3: Well, one of the things is to be absolutely clear
Speaker 3: we are making a recording. We're not doing a concert.
Speaker 3: You don't have the freese of a live performance going on.
Speaker 3: So I try to have a bit of that going on.
Speaker 3: For instance, I tell directors before I start working with them,
Speaker 3: and they all get it. I will not make a
Speaker 3: change during the scoring session in front of the orchestra,
Speaker 3: will take it off the stands, I'll go home, I'll
Speaker 3: rewrite it whatever you want, but I will not do
Speaker 3: it in front of the orchestra because when the orchestra
Speaker 3: is playing, it's about a performance, and we don't want
Speaker 3: to stop, and we don't want to bore them, and
Speaker 3: we certainly don't want to show any insecurity. The lion
Speaker 3: tyming and film comp housing seem to have a close link.
Speaker 3: You know, both can kill you. I mean the director
Speaker 3: will eat your life. And if it's not the directors.
Speaker 3: There's there's a whole bunch of guys in the brass
Speaker 3: section who are just looking at you, going, okay, kid,
Speaker 3: let's see what hams. Let's see where.
Speaker 1: You had some of that early on?
Speaker 3: Yeah, absolutely, and now we're fine.
Speaker 2: Now.
Speaker 3: I actually had the one of the greatest compliments recently.
Speaker 3: There's a percussionist in London who's played on everything from
Speaker 3: you know, Star Wars plus all the classics, and I
Speaker 3: saw him the other day. He goes Hamps. We were
Speaker 3: worried about you when you went to Hollywood because we
Speaker 3: thought you're just going to become one of those prats.
Speaker 3: But you know something, you came back. You're still one
Speaker 3: of us. You're still a complete music bastard and we
Speaker 3: love you for that. So I thought that was like
Speaker 3: the best compliment I could have, and it meant whatever
Speaker 3: we were doing was going to be okay because I
Speaker 3: was still part of them.
Speaker 1: Now, when you see footage doesn't perform Romans ever.
Speaker 3: Motivate you one hundred percent.
Speaker 1: Really, what's an example of a performance by an actor
Speaker 1: in a film you did that really helped lift you
Speaker 1: to the level you wanted to go in terms of
Speaker 1: your score.
Speaker 3: Jack Nicholson in as good as it gets. Really didn't
Speaker 3: know what to do. I was really struggling, and finally
Speaker 3: I said to Jim Burks, Jim, what are you doing
Speaker 3: in the weekend? Do you mind sitting on my couch
Speaker 3: and let me just look at Jack. Look at what
Speaker 3: he's doing. I mean, there's a history. Before Jack started
Speaker 3: filming the movie, I was at his house going over, like,
Speaker 3: he's going to play the piano. He didn't want to
Speaker 3: play the piano. I'm going it's easy. I can go
Speaker 3: and replace anything that's wrong.
Speaker 1: No, Jack didn't want to play the piano.
Speaker 3: Didn't want to play the piano. I think he just
Speaker 3: wanted to talk to Jim a bit. But so Jim's
Speaker 3: sitting there and we just started to work out together
Speaker 3: what this character would be, Like it's the way his
Speaker 3: legs moved, or it's just a little something in the shoulder.
Speaker 3: It's never something he says, it's body language, it's a ballet.
Speaker 3: And literally it was two days of just experimenting. Jim
Speaker 3: sitting there and we worked the whole thing out, and
Speaker 3: so you know, I totally understood what Jack was trying
Speaker 3: to do.
Speaker 1: Helen Hunt, she wont to ask for I love that film.
Speaker 1: He did too. Here do too, he did too. And
Speaker 1: what I love is there's an almost pugilistic quality to
Speaker 1: when he says his lines the woman of the legendary
Speaker 1: line when he's at the elevator and the woman says,
Speaker 1: how do you write those female? Do you write those
Speaker 1: women so well? I think of a man and I
Speaker 1: take away reason and accountability right, one of the greatest
Speaker 1: lines in Hollywood history.
Speaker 3: There's another bit in it at the end when he
Speaker 3: doesn't know how to go and see the Helen Hunt character,
Speaker 3: and Greg Kinnear says to him, but you already have
Speaker 3: an advantage, he already prepared to humiliate yourself. And in
Speaker 3: a funny way, I've made that sort of my light
Speaker 3: motif of how I'm going to go and play a
Speaker 3: piece of music to a director or anybody for that matter.
Speaker 1: I'm sure, I'm sure that these examples have been There
Speaker 1: might be none, or certainly few and far between. But
Speaker 1: have you ever just pushed out your best effort and
Speaker 1: you thought I can't save this movie?
Speaker 3: Yes, and being wrong at the same time, thinking this
Speaker 3: is terrible, and then the audience loved it. You know,
Speaker 3: don't try to predict anything.
Speaker 1: That's a very good point, you know, to.
Speaker 3: Th own self be true. I mean, look, you and
Speaker 3: I we did a movie Pearl Harbor. Yeah, there's a line.
Speaker 3: And girl and boy met forty five minutes ago in
Speaker 3: the story and they're sitting next to each other and
Speaker 3: she says to him, if I have one more night
Speaker 3: to live, I want to spend it with you. And
Speaker 3: I said to Michael Bay, Michael, you gotta get rid
Speaker 3: of that line. I learn from Ridley Scott. Ridley Scott
Speaker 3: always would say sentimentality, that's unanned emotion. And he's going, yeah,
Speaker 3: don't worry, I'll get rid of it. He never got
Speaker 3: rid of it. It's the favorite line in the movie
Speaker 3: by teenage girls.
Speaker 1: Oh God, Hans Zimmer, this is to every captive soul
Speaker 1: from the motion picture Hannibal. When we return, Hans Zimmer
Speaker 1: talks about how an invitation from musician Pharrell Williams helped
Speaker 1: him overcome stage fright. I'm Alec Baldwin and this is
Speaker 1: here's the thing. In twenty sixteen, Hans Zimmer did something
Speaker 1: he hadn't done in decades, played in front of an audience.
Speaker 1: The result was Hans Zimmer Live an arena style concert series,
Speaker 1: which wouldn't have happened without encouragement from his friends.
Speaker 3: There was like a cabal ganging up on me. There
Speaker 3: was Frell, Williams, Johnny Ma and my friend Anne Marie Simpson,
Speaker 3: great violinist, and they're all sitting here and they're going,
Speaker 3: you know, Hans, you can't hide behind the screen for
Speaker 3: the rest of your life. Sometimes it is your duty
Speaker 3: to look an audience in the eye, especially after you've
Speaker 3: done so much. I'm gonna rrible idea. I think I
Speaker 3: should just stay in this room, I mean. And so
Speaker 3: this goes on and I keep saying no and then
Speaker 3: get up and they're walking out of my room. And
Speaker 3: right at the end, Farrell turns around and he says, Hey,
Speaker 3: I'm going to play the Grammys. Do you want to
Speaker 3: play guitar for me? And I thought only an idiot
Speaker 3: would say no. So it was his show. The Grammys
Speaker 3: were his show. I'm playing guitar. Through the whole performance,
Speaker 3: he kept his eyes on me. He just to make
Speaker 3: sure that I was okay, that was safe, which was
Speaker 3: such an act of kindness. And I was going, Oh,
Speaker 3: it's not so bad. This is actually good fun. So
Speaker 3: I phoned. I felt, my friend Harvey Goldsmith, who promoted
Speaker 3: the original Live Aid and everything else. I mean he
Speaker 3: brought Springsteen to England, etc. And I'm saying, Harvey, if
Speaker 3: I did a concert, I mean, do you think anybody
Speaker 3: would come? He goes, yeah, I think so. So in
Speaker 3: twenty fourteen, we did two nights in London and a
Speaker 3: rock and roll and I thought it was important. Number one,
Speaker 3: it was important to be a rock and roll venue,
Speaker 3: and it would be fun to pawn orchestra into it,
Speaker 3: or we can go more extreme. Because then we went
Speaker 3: and did courchella, and I thought, oh, we have to
Speaker 3: do courchella because we got to have an orchestra in
Speaker 3: the middle of the desert and a choir. And secondly,
Speaker 3: I want to change the way people perceive orchestras and
Speaker 3: choirs because I can understand that going to a classical concert,
Speaker 3: unless it's an amazing conductor, seeing a guy with his
Speaker 3: back to you all night while there's a whole bunch
Speaker 3: of guys and girls reading the paper is like a
Speaker 3: bad marriage on a Sunday morning. So I said to
Speaker 3: the orchestra, if I get rid of the conductor, I mean,
Speaker 3: we have enough technology. We can go and show things
Speaker 3: up on the conducting up on the screen. You know,
Speaker 3: it doesn't have to be in the sideline. You will
Speaker 3: have an autonomous sideline to the audience. Will that work?
Speaker 3: And they said, yeah, absolutely, we'll have We'll have a
Speaker 3: go at it, and that basically became the basis of
Speaker 3: that tour and the idea of being surrounded by not
Speaker 3: only great orchestral class, but great rock and roll class.
Speaker 3: Because great musicians are great musicians. You either move me
Speaker 3: or you don't move me.
Speaker 1: You know, it's interesting how when you write music. I
Speaker 1: want to tee this up with the story, which was
Speaker 1: I was haunted by the sequence in Cold Blood where
Speaker 1: Robert Blake is watching Scott Wilson have sex with the
Speaker 1: prostitute and he's sitting on the bed and that transforms
Speaker 1: into his mother with a John and the father comes
Speaker 1: in and it's this horribly painful, traumatic thing for the
Speaker 1: Robert Blake character, and he's sitting there with tears running
Speaker 1: down his eyes and the rain behind him in the
Speaker 1: window running down the window, and they play this Mexican
Speaker 1: ballad and I drove myself to the brink of insanity
Speaker 1: trying to find out what the name of the song
Speaker 1: was who the singer was, and of course who wrote it?
Speaker 1: And I couldn't take it anymore. So you know, when
Speaker 1: you're with c as an agency, they can get you
Speaker 1: on the phone with anybody. So the next thing you know,
Speaker 1: I'm on the phone with Quincy. Right. I said, now
Speaker 1: this song in this thing? He said, yeah, yeah, man, Nina,
Speaker 1: the song is Nina Baby. That's the name of so Nina.
Speaker 1: And I go who wrote the song? And is a pause?
Speaker 1: He goes, I wrote a baby. I wrote it. I
Speaker 1: mean what you're talking about, man, I wrote the song
Speaker 1: like I write all the songs. Did you feel that
Speaker 1: they were parts of your career where you went to
Speaker 1: learn to write music you thought you couldn't write, whether
Speaker 1: you know, from.
Speaker 3: The culture, Yeah, I mean absolutely. I mean I had
Speaker 3: this from Penny Marshall. But she comes to me and
Speaker 3: she goes, forties girls baseball. Though I'm going I know
Speaker 3: nothing about being a girl. I know nothing about the forties.
Speaker 3: I don't know anything about jazz, you know. And she goes,
Speaker 3: don't worry about it, just do it, and oh yeah,
Speaker 3: And I say I know nothing about baseball. She goes,
Speaker 3: when they hit it, that's good. You know, I was
Speaker 3: basically my brief. It took me a while to figure
Speaker 3: out how I could solve this because I really don't
Speaker 3: know anything about jazz.
Speaker 1: You felt you didn't know anything about jazz. You weren't
Speaker 1: a jazz fan.
Speaker 3: Yes, but I didn't know how to do it about it,
Speaker 3: And I thought, well, hang on, everybody's got like some
Speaker 3: crazy uncle that when drunk will play boogie boogie on
Speaker 3: the piano. So I thought, well, I can be that
Speaker 3: guy playing boogie woogie in the piano and just orchestrated
Speaker 3: and shoved in front of a bunch of very good players.
Speaker 3: So that's how that score came about. Here's the thing.
Speaker 3: Penny was a huge influence because she left having a chat,
Speaker 3: especially between the hours of three am and seven.
Speaker 1: I had some chats with Penny.
Speaker 3: Right, okay, So so since I was one of the
Speaker 3: few pans and musicians, therefore I was up and I
Speaker 3: would use those charts. For instance, I remember one Penny,
Speaker 3: how do you make a good movie? That's easy. All
Speaker 3: you have to do is protect your star. And by
Speaker 3: that I don't mean the actor, I mean your main character.
Speaker 3: Don't let him say anything that's out of character, coming
Speaker 3: off his mouth, don't let him wear anything that's not
Speaker 3: in character, don't have his hair be stupid. Because when
Speaker 3: you know what your main character is, then the rest
Speaker 3: of the story will group around it. And I thought
Speaker 3: that makes perfect sense.
Speaker 1: Yeah, now what about with ron Howard? I mean, the
Speaker 1: Frost Nixon thing is obviously a very dry, very powdery
Speaker 1: kind of a drama, you know what I mean?
Speaker 3: Oh, man, that was a tough one.
Speaker 1: I mean O'shan and Frank. I mean, Frank is just
Speaker 1: such a wonderful malvolioesque, you know, kind of presence and
Speaker 1: everything he does, he just drips with a kind of danger.
Speaker 1: You know what did Ronnie tell you he wanted for
Speaker 1: that film?
Speaker 3: We all loved the play. And you know that's back
Speaker 3: to Peter Margan and the crowd. I mean, that's a
Speaker 3: Peter Margen thing. So ostensibly we had a meeting every
Speaker 3: day for two weeks before he went out shooting to
Speaker 3: talk about the song, to make the songs, to be
Speaker 3: the right thing for the era. And I don't think
Speaker 3: we actually got any songs in it. You know, I
Speaker 3: would go, well, if you give me this close up,
Speaker 3: I can give you this piece of music. Oh, I
Speaker 3: can do something like this, and you know, so for
Speaker 3: two weeks we sort of worked out camera moves and
Speaker 3: we've worked out how to transform a play into a movie.
Speaker 1: Now. One of the junctures in which I intersected with
Speaker 1: your movie was a documentary series called Evidence of Revision.
Speaker 1: It's considered the Citizen Kane of JFK Conspiracy Films. It's
Speaker 1: nine hours long, divided into five parts. I'm listening to
Speaker 1: this and this music comes on and I'm going, oh man,
Speaker 1: this music is so fucking beautiful, and it's the last Samurai. Now.
Speaker 1: He sampled a couple of your pieces for this thing, Hannibal.
Speaker 1: He plays to every captive soul, oh yes, and oh
Speaker 1: my god, you just the tears start rolling down your face.
Speaker 3: There's a big story involved for a Telly piece. Why
Speaker 3: it's worth making movies? To me, Ridley had just come
Speaker 3: back from Florence, I think, to finished shooting the movie.
Speaker 3: It's Sunday night, eleven o'clock in the evening at Fox
Speaker 3: in the cutting room, and it's Ridley, it's Pietro Scalia,
Speaker 3: the editor, and me and the picture on the avit
Speaker 3: is parked on a tear running down Claric Starling's face.
Speaker 3: And I say to him, to both of them, I say, well,
Speaker 3: she's crying because she's in love with him and she
Speaker 3: has to betray him now, and really goes no, no, no,
Speaker 3: it's a tear of disgust. It's disgusted this.
Speaker 1: Monthster when he has her up against the refrigerator.
Speaker 3: Yeah, exactly, exactly right. So this goes on, So it
Speaker 3: gets more and more heat in this conversation, and finally
Speaker 3: we're standing and three grown men at eleven o'clock at
Speaker 3: night on a Sunday are shouting at each other about
Speaker 3: the meaning of a tear on a woman's face. And
Speaker 3: I had one of those we had moments, you know
Speaker 3: where the camera pulls back and I see us all
Speaker 3: I thought, what a great job we are discussing Julie.
Speaker 3: And I'm going, this is the most important thing to
Speaker 3: us at this moment. And that's what this piece is about.
Speaker 3: Because I said, Okay, Reddy, this is what I'm going
Speaker 3: to do. I'm going to write the whole score is
Speaker 3: going to be a romantic comedy. And he's going, okay, fine,
Speaker 3: all right, if you can pull that off, fine romantic comedy.
Speaker 3: So that is my big love theme.
Speaker 1: What's the movie of yours. You watch, will you sit
Speaker 1: there when it's screens and you go, you know, it's
Speaker 1: not that bad. Actually it's pretty good. It really does work.
Speaker 3: Yeah, I know, I'm binary. It's shit. It's not shit.
Speaker 3: I think they could all do with a bit of
Speaker 3: a do over, an improvement. But I tell you the
Speaker 3: opening to The Lion King, I mean, it was really
Speaker 3: important to me. I wanted that African voice. My friend Lebo,
Speaker 3: who I discovered at a car wash, he was a
Speaker 3: political refuge to you, but he was working at a
Speaker 3: car wash. I said, come and just come and do
Speaker 3: this thing. And you know, like within the first notes,
Speaker 3: you know you're now not in Kansas anymore.
Speaker 1: What advice do you have for people who you're working
Speaker 1: with who are young people who want to because I'm
Speaker 1: assuming that actors can come and go they have their
Speaker 1: houseyon period, writers, directors, but it seems like composers, when
Speaker 1: you hit it you can stay there for a very
Speaker 1: long time. Your career has been a very long time
Speaker 1: now and you've stayed at the top of this business
Speaker 1: for a very long time. What advice do you have
Speaker 1: for people who want to get into that part of
Speaker 1: the business, Just say.
Speaker 3: Yes, you know, like when Penny Marshall says, do you
Speaker 3: not do a movie about baseball and swing? Go yes,
Speaker 3: I know nothing about it. Just be honest, I know
Speaker 3: nothing about it. Sounds interesting, right, you know?
Speaker 1: Hold yes.
Speaker 3: I remember being on the phone with Ron, just out
Speaker 3: of courtesy. Right at the end. I thought I should say, well,
Speaker 3: what are you working on? And he said the Da
Speaker 3: Vinci Code. I'm going, oh my god, it's like run
Speaker 3: on monologue. It's totally uncinematic. How can you? I mean,
Speaker 3: how are you going to do that? And it's a phenomena.
Speaker 3: How are you going to deal with the phenomena? And
Speaker 3: he goes, yeah, I know. And ten minutes later, my
Speaker 3: agent fil to me. He goes, what did you say
Speaker 3: to Ron? I'm sorry. I know he's setting off on
Speaker 3: this journey and I just probably really, like, you know,
Speaker 3: made it even worse for him. He goes, no, no, no,
Speaker 3: he wants you to do the film. He wants you
Speaker 3: to solve it for him, you know. And it gave
Speaker 3: me a year of being able to immerse myself in
Speaker 3: art and in literature and to hang out at the
Speaker 3: Louver at night.
Speaker 1: You know, this is why people say to me, why
Speaker 1: am I on the border the Philharmonic, I said. The
Speaker 1: movies often disappoint me, The theater sometimes disappoint me. The
Speaker 1: symphony never disappoints me. When now I go see the
Speaker 1: New York Philharmonic play, I'm never disappointed.
Speaker 3: Absolutely.
Speaker 1: Your music. Is there a joint ownership of that movie
Speaker 1: and the publishing rights and so forth for the soundtrack,
Speaker 1: album and so forth? Do you have some control or
Speaker 1: do the studio? Is it a buyout and they own it?
Speaker 3: They own it. But there's a law that says you
Speaker 3: are allowed to perform anything you want to perform, all right,
Speaker 3: So I think it would be heenous to not be
Speaker 3: able to own my life. Wow, you know, because that's
Speaker 3: really what it is, isn't it. I mean, you know
Speaker 3: that thing Bernardo said to me. You know, as the
Speaker 3: seconds of life are taking away, we are creating these things.
Speaker 3: You know.
Speaker 1: Had an actor turned to me once he said to me,
Speaker 1: you're gonna go back to your trailer, I said it.
Speaker 1: He goes, Why do you go to your trailer?
Speaker 3: He said?
Speaker 1: The sets where you want to be even when you're
Speaker 1: not shooting, he said, pull up a chair, he goes.
Speaker 1: Just be a part of it. Absolutely, Just watch them shoot,
Speaker 1: And as I've gotten older, when I read a script,
Speaker 1: I say to myself, could I stay on the set
Speaker 1: during the entire shooting process of this movie and just
Speaker 1: be a witness and watch them do this movie? Do?
Speaker 1: I love it that much? And that's become a metric
Speaker 1: for me. Actually, and I spend far more time on
Speaker 1: the set now than I used to. I never go
Speaker 1: to my trailer anymore. Is too boring.
Speaker 3: I think my whole career is based on I would
Speaker 3: always hang around and be the guy asking the stupid questions.
Speaker 3: You know, not be afraid. Why are you doing it
Speaker 3: like that? You know, tell me, explain this part to
Speaker 3: me or whatever. You know, everything informs everything.
Speaker 1: But you nailed it when you said this is our lives.
Speaker 1: We spent our lives doing this.
Speaker 3: It is our lives. And that's what Parrell and Johnny
Speaker 3: mob were so right about that I should stop hiding that,
Speaker 3: I should do things in real time, be on a stage.
Speaker 3: If I'm going to have a pratfall. Yes, if I
Speaker 3: go Hello Oslo in Stockholm, they will forgive me.
Speaker 1: Let me just finish by saying this, as you're scoring
Speaker 1: the sequel to Boss Baby, please make me look funny,
Speaker 1: made me look smart, made me look powerful. Okay, when
Speaker 1: you're writing the music, just have that in mind. If
Speaker 1: you don't mind made me look.
Speaker 3: Powerful, we have not only have we fulfilled that free
Speaker 3: fuck you know you getting away with that line. I
Speaker 3: have a beautiful voice. I mean, just start at pausing,
Speaker 3: just have your voice, just let it lay there, let
Speaker 3: them all be enthralled.
Speaker 1: Well, listen, thank you. You're one of the greats man.
Speaker 1: I mean, your movie scores are just I mean, these
Speaker 1: people that you work with, they're lucky to have you. Boy,
Speaker 1: what a difference you make.
Speaker 3: It's just been a pleasure.
Speaker 1: Composer Hans Zimmer. This is from the motion picture The
Speaker 1: Last Samurai. I'm Alec Baldwin. And this is here's the
Speaker 1: thing from iHeart Video
Speaker 4: U