1 00:00:02,440 --> 00:00:07,800 Speaker 1: Get a. I'm Lola Berry, nutritionist, author, actor, TV presenter, 2 00:00:08,080 --> 00:00:14,080 Speaker 1: and professional oversharer. This podcast is all about celebrating failure 3 00:00:14,600 --> 00:00:17,200 Speaker 1: because I believe it's a chance for us to learn, 4 00:00:17,800 --> 00:00:22,160 Speaker 1: grow and face our blind spots. Each week, I'll interview 5 00:00:22,239 --> 00:00:26,160 Speaker 1: a different guest about their highs as well as their lows, 6 00:00:26,200 --> 00:00:29,800 Speaker 1: all in a bid to inspire us to fearlessly fail. 7 00:00:34,159 --> 00:00:37,199 Speaker 1: Today on the pod we have Breton Vivian. He's an 8 00:00:37,240 --> 00:00:40,960 Speaker 1: incredible film and TV composer. Worked on the likes of 9 00:00:41,040 --> 00:00:46,320 Speaker 1: Yellowstone eighteen eighty three, five feet Apart, also The Mummy, 10 00:00:46,479 --> 00:00:50,240 Speaker 1: Crazy Rich Asians, The Fate of the Furious power Eates, 11 00:00:50,280 --> 00:00:53,880 Speaker 1: so many incredible things. We're gonna deep dive Yellowstone eighteen 12 00:00:53,920 --> 00:01:01,680 Speaker 1: eighty three and five feet apart. Also Emmy num so exciting, incredible. 13 00:01:02,160 --> 00:01:05,040 Speaker 1: It found out we talk about, We talk about the 14 00:01:05,080 --> 00:01:07,039 Speaker 1: moment that he found out when he was nominated for 15 00:01:07,080 --> 00:01:09,600 Speaker 1: an Emmy. The thing that blows me the most away 16 00:01:10,200 --> 00:01:13,440 Speaker 1: about this human being is he's so humble. And I 17 00:01:13,480 --> 00:01:17,720 Speaker 1: think I love celebrating creatives, but with like creatives comes 18 00:01:17,760 --> 00:01:23,399 Speaker 1: like confidence and which he totally is as well. But 19 00:01:23,480 --> 00:01:28,080 Speaker 1: it's just so humble and kind and genuine and yeah, 20 00:01:28,200 --> 00:01:33,040 Speaker 1: really really lovely human beings. So this EP really inspired 21 00:01:33,080 --> 00:01:37,039 Speaker 1: me to just keep plugging away at the dream and 22 00:01:37,200 --> 00:01:42,360 Speaker 1: be really like kind and honest and genuine and humble 23 00:01:42,440 --> 00:01:44,840 Speaker 1: along the way. So I really hope it inspires you 24 00:01:44,880 --> 00:01:51,120 Speaker 1: to straight into it. Bred and Vivian composer English and 25 00:01:51,200 --> 00:01:54,960 Speaker 1: Ausy didn't know that you, my friend, have just been 26 00:01:54,960 --> 00:01:58,360 Speaker 1: nominated for an Emmy for your work on eighteen eighty three. 27 00:01:59,120 --> 00:02:02,240 Speaker 1: Cannot wait to deep I have this one here. You've 28 00:02:02,240 --> 00:02:06,560 Speaker 1: also want to be and my awards for Yellowstone Live 29 00:02:06,560 --> 00:02:10,960 Speaker 1: in the Dream and you've done a plethora of amazing work. 30 00:02:11,000 --> 00:02:12,919 Speaker 1: You're just saying to me, you've been in la for 31 00:02:13,160 --> 00:02:16,119 Speaker 1: as ye almost does it feel like home now? 32 00:02:17,120 --> 00:02:18,040 Speaker 2: It doesn't. It doesn't. 33 00:02:18,160 --> 00:02:20,400 Speaker 3: I feel like once you move you sort of split 34 00:02:20,480 --> 00:02:23,919 Speaker 3: between two lifestyles, two homes, and I don't know, every 35 00:02:23,919 --> 00:02:27,600 Speaker 3: time I go back, I'm sort of reminded that England 36 00:02:27,600 --> 00:02:30,359 Speaker 3: has it existed without me, and so it's sort of 37 00:02:30,400 --> 00:02:33,600 Speaker 3: a bit heartbreaking to see it sort of just progressing. 38 00:02:34,120 --> 00:02:36,960 Speaker 1: And yeah, it's interesting that you share that though, because 39 00:02:36,960 --> 00:02:39,000 Speaker 1: I live half in Australia and half here, and I 40 00:02:39,040 --> 00:02:42,079 Speaker 1: do feel like I live two lives. You really do 41 00:02:42,120 --> 00:02:47,080 Speaker 1: feel like they are two different lands and worlds. Yeah, completely, Okay, 42 00:02:47,160 --> 00:02:51,680 Speaker 1: So I have got so many questions. I am such 43 00:02:51,720 --> 00:02:54,160 Speaker 1: a musical nerd. I used to be DJ when I 44 00:02:54,200 --> 00:02:58,080 Speaker 1: was young, so I just nerd out over scores. I think, 45 00:02:58,880 --> 00:03:03,160 Speaker 1: whether it's a TV show or a movie, music alone 46 00:03:03,480 --> 00:03:04,080 Speaker 1: is a character. 47 00:03:04,600 --> 00:03:07,560 Speaker 3: Yeah you great, Yeah, I completely agree. I mean that's 48 00:03:07,680 --> 00:03:11,640 Speaker 3: sort of I always liken it to world building within 49 00:03:11,880 --> 00:03:14,560 Speaker 3: within the show or the film. You're you're trying to 50 00:03:14,639 --> 00:03:20,079 Speaker 3: find where the film lies within the sonic kind of landscape, 51 00:03:20,560 --> 00:03:23,480 Speaker 3: and so a lot of you know, when when we're 52 00:03:23,520 --> 00:03:26,920 Speaker 3: working on Yellowstone or eighteen eighty three or five feet Apart, 53 00:03:27,080 --> 00:03:31,280 Speaker 3: is kind of trying to figure out what tonally makes 54 00:03:31,320 --> 00:03:33,880 Speaker 3: sense within the storyline and the narrative. 55 00:03:34,360 --> 00:03:37,000 Speaker 1: I love it. Okay, first of all, before we deep dive, 56 00:03:37,600 --> 00:03:40,560 Speaker 1: I'm like nerding it here before we deep dive. You 57 00:03:40,640 --> 00:03:42,960 Speaker 1: were in as like when you were younger, you're in 58 00:03:43,040 --> 00:03:48,080 Speaker 1: bands but like heavy metal yah, And but did you 59 00:03:48,120 --> 00:03:51,160 Speaker 1: always have this love for like film scores and more 60 00:03:51,240 --> 00:03:52,680 Speaker 1: like classical Yeah? 61 00:03:52,840 --> 00:03:56,360 Speaker 3: Yeah, so I was a guitarist in Yeah, like you said, 62 00:03:56,400 --> 00:04:00,680 Speaker 3: massive hardcore metalcore like that for a long time was 63 00:04:00,760 --> 00:04:02,880 Speaker 3: going to be my path in life. 64 00:04:03,240 --> 00:04:04,320 Speaker 2: It was going to be my career. 65 00:04:04,880 --> 00:04:10,640 Speaker 3: And I studied music, but I was very new to 66 00:04:11,240 --> 00:04:14,120 Speaker 3: the classical world. And I just had this one teacher 67 00:04:14,160 --> 00:04:17,000 Speaker 3: who knew my passion for music and would try and 68 00:04:17,000 --> 00:04:20,600 Speaker 3: always relate it to classical music. And so he would 69 00:04:21,040 --> 00:04:25,880 Speaker 3: come in to lesson with a CD and he'd be like, Brett, 70 00:04:26,279 --> 00:04:29,839 Speaker 3: I found the first ever piece of metal music and 71 00:04:29,880 --> 00:04:34,560 Speaker 3: it would be a Bruckner Symphony that was like particularly aggressive, 72 00:04:34,800 --> 00:04:40,800 Speaker 3: and you know, he really nurtured this sort of love 73 00:04:40,880 --> 00:04:44,560 Speaker 3: for classical that I have. And I loved film as well, 74 00:04:44,600 --> 00:04:46,279 Speaker 3: and so it just seemed like it was a natural 75 00:04:46,760 --> 00:04:50,720 Speaker 3: progression for me to be rellianto film music as well. 76 00:04:51,320 --> 00:04:54,440 Speaker 1: And did that happen like when you came to LA 77 00:04:54,520 --> 00:04:57,279 Speaker 1: were you like write, here we go, I really want 78 00:04:57,320 --> 00:04:59,960 Speaker 1: to compose or was there like lots of steps between? 79 00:05:00,120 --> 00:05:01,520 Speaker 2: Yeah, there was lots of steps between. 80 00:05:02,279 --> 00:05:06,719 Speaker 3: So that was very early on in when I was studying, 81 00:05:06,839 --> 00:05:09,840 Speaker 3: Like I was about fifteen when that was happening with 82 00:05:09,880 --> 00:05:14,000 Speaker 3: that teacher, and then I studied. I was still on 83 00:05:14,040 --> 00:05:18,599 Speaker 3: this sort of band path and I studied at University 84 00:05:18,640 --> 00:05:24,280 Speaker 3: of Sussex Dunn and Brighton, and I was studying guitar 85 00:05:24,480 --> 00:05:29,279 Speaker 3: and during those studies, I started to realize, actually, you 86 00:05:29,320 --> 00:05:31,279 Speaker 3: know what, I don't want to be in a band, 87 00:05:31,400 --> 00:05:34,520 Speaker 3: and because it's a real grind doing that thing, especially 88 00:05:34,560 --> 00:05:37,279 Speaker 3: at that time where you know, everything was shifting to 89 00:05:37,360 --> 00:05:41,080 Speaker 3: clubs and all these ladies were closing down and he 90 00:05:41,160 --> 00:05:45,839 Speaker 3: had like piracy just ruining a lot of the revenue, 91 00:05:46,360 --> 00:05:48,800 Speaker 3: and so I just found it more interesting. 92 00:05:49,040 --> 00:05:50,200 Speaker 2: And so. 93 00:05:51,680 --> 00:05:53,560 Speaker 3: At the end of my studies, I was like, that's 94 00:05:53,720 --> 00:05:56,640 Speaker 3: I'm going to be a film composer. And so I 95 00:05:56,680 --> 00:06:00,560 Speaker 3: started talking to a lot of the universities nearby who 96 00:06:00,600 --> 00:06:04,719 Speaker 3: I knew had film film classes and was just like, 97 00:06:04,839 --> 00:06:07,719 Speaker 3: to do any of your students want a composer love 98 00:06:07,800 --> 00:06:12,560 Speaker 3: to you know, work on that on those projects. And 99 00:06:12,839 --> 00:06:15,479 Speaker 3: it was a long time, it wasn't you know. That 100 00:06:15,600 --> 00:06:20,080 Speaker 3: was probably about eleven years ago. After a while of 101 00:06:20,120 --> 00:06:23,599 Speaker 3: trying to do it myself, I kind of really wanted 102 00:06:23,640 --> 00:06:28,360 Speaker 3: to have some sort of critical sort of feedback with 103 00:06:28,400 --> 00:06:32,000 Speaker 3: my own music, and that's what led me onto applying 104 00:06:32,520 --> 00:06:38,600 Speaker 3: at USC. They have this amazing course called SMBTB Scoring 105 00:06:38,600 --> 00:06:42,400 Speaker 3: for Motion Picture and oh wow, so that's what I mean. 106 00:06:42,440 --> 00:06:44,520 Speaker 3: I applied and I didn't think i'd getting because I 107 00:06:44,720 --> 00:06:49,040 Speaker 3: was self taught for you know, for all of it, really, 108 00:06:51,400 --> 00:06:54,160 Speaker 3: but sure enough I got in and then my girlfriend 109 00:06:54,160 --> 00:06:57,160 Speaker 3: at the time, we were like, let's just get married, 110 00:06:57,400 --> 00:07:00,680 Speaker 3: and and you know, we sold all of our staff 111 00:07:00,720 --> 00:07:04,279 Speaker 3: and three months later we were we were out over here. 112 00:07:04,960 --> 00:07:07,279 Speaker 3: It was it was so quick, like I didn't even 113 00:07:07,320 --> 00:07:10,760 Speaker 3: have time to think about, like whether it was the 114 00:07:10,840 --> 00:07:17,040 Speaker 3: right decision. And I think, like, you know, we I'd 115 00:07:17,120 --> 00:07:20,040 Speaker 3: never been to America before. This is my first time. 116 00:07:21,320 --> 00:07:25,160 Speaker 1: Especially if you come here awakening, so yeah. 117 00:07:25,000 --> 00:07:28,360 Speaker 3: And I remember we hadn't had time to think about it. 118 00:07:28,400 --> 00:07:31,400 Speaker 3: And I remember we were in the car from the 119 00:07:31,760 --> 00:07:35,520 Speaker 3: from Lax heading to where our airbnb was, and I 120 00:07:35,600 --> 00:07:38,600 Speaker 3: remember looking around and just thinking, what the fuck have 121 00:07:38,640 --> 00:07:39,080 Speaker 3: I done? 122 00:07:39,120 --> 00:07:43,400 Speaker 1: This is the first l A moment. Is this all concrete? 123 00:07:43,720 --> 00:07:45,360 Speaker 1: Does anyone walk down the streets? 124 00:07:46,800 --> 00:07:49,560 Speaker 2: What have I done? Sure? And it took me a while. 125 00:07:49,600 --> 00:07:53,520 Speaker 3: It took us a while to get you know, used 126 00:07:53,520 --> 00:07:56,400 Speaker 3: to it and actually fall in love with kind of 127 00:07:56,400 --> 00:08:00,240 Speaker 3: the Hollywood you know magic basically, it's. 128 00:08:00,160 --> 00:08:03,280 Speaker 1: My theory on la Like, so of course it's magical. 129 00:08:03,320 --> 00:08:06,640 Speaker 1: There's all these opportunities and whatnot, But sometimes you're driving 130 00:08:06,680 --> 00:08:09,760 Speaker 1: down a dingy, dirty street that feels like it's stuck 131 00:08:09,800 --> 00:08:12,520 Speaker 1: in nineteen ninety two. Yeah, yeah, and it feels like 132 00:08:12,640 --> 00:08:15,200 Speaker 1: really like yeah yeah, and then you can see how 133 00:08:15,200 --> 00:08:19,360 Speaker 1: Hollywood is portrayed in movies amorous and especially if they 134 00:08:19,400 --> 00:08:21,200 Speaker 1: do any of that like Golden era stuff, and it 135 00:08:21,280 --> 00:08:24,239 Speaker 1: just looks like this incredible and you have these moments 136 00:08:24,240 --> 00:08:26,760 Speaker 1: where you're like, oh my goodness, what am I am? 137 00:08:26,760 --> 00:08:29,280 Speaker 1: I in this like weird, like if I've been jimmed 138 00:08:29,400 --> 00:08:33,440 Speaker 1: my weirdid world. And then you'll just there'll be a 139 00:08:33,600 --> 00:08:38,200 Speaker 1: moment of like hope, or you'll you'll there'll just be 140 00:08:38,280 --> 00:08:41,240 Speaker 1: like a magical moment and you're like, hang on, that 141 00:08:41,400 --> 00:08:44,080 Speaker 1: couldn't have happened yeah unless I was here. 142 00:08:44,400 --> 00:08:44,640 Speaker 2: Yeah. 143 00:08:44,840 --> 00:08:47,199 Speaker 3: Well, so, I mean that's what I love about Once 144 00:08:47,360 --> 00:08:49,199 Speaker 3: upon a time in Hollywood. You get to see it, 145 00:08:49,200 --> 00:08:51,720 Speaker 3: and you're driving around, you get to see like a 146 00:08:51,760 --> 00:08:54,040 Speaker 3: lot of the building, but it's still there. They've just 147 00:08:54,080 --> 00:08:57,920 Speaker 3: turned into a different restaurant. Yeah. But I think with 148 00:08:58,320 --> 00:09:01,040 Speaker 3: the course that I did at USC we were going 149 00:09:01,200 --> 00:09:03,240 Speaker 3: to a part of the course we would have to 150 00:09:03,240 --> 00:09:06,200 Speaker 3: write for full orchestra, and we were going to a 151 00:09:06,240 --> 00:09:09,200 Speaker 3: lot of these scoring stages that did you know a 152 00:09:09,240 --> 00:09:12,360 Speaker 3: lot of our favorite scores were recorded there with pretty 153 00:09:12,400 --> 00:09:15,080 Speaker 3: much most of the same musicians we had musicians that 154 00:09:15,120 --> 00:09:19,120 Speaker 3: were on the original Star Wars, you know, And that 155 00:09:19,280 --> 00:09:22,240 Speaker 3: is where I started to realize, Oh, okay, there's sort 156 00:09:22,240 --> 00:09:27,199 Speaker 3: of machinery of Hollywood and it has this very romantic 157 00:09:27,320 --> 00:09:28,280 Speaker 3: sort of feel to it. 158 00:09:28,880 --> 00:09:32,000 Speaker 2: You know. Don't get me wrong, there's terrible parts of 159 00:09:32,120 --> 00:09:32,760 Speaker 2: the industry. 160 00:09:33,280 --> 00:09:33,720 Speaker 1: I feel. 161 00:09:34,480 --> 00:09:37,680 Speaker 3: Yeah, suddenly you realize, okay, there is a beauty to 162 00:09:37,840 --> 00:09:41,120 Speaker 3: some of the art artistry of it all. So that's 163 00:09:41,120 --> 00:09:43,720 Speaker 3: what I kind of started to really latch onto. 164 00:09:44,200 --> 00:09:47,839 Speaker 1: Ah, okay, okay, I've got so many areas I want 165 00:09:47,840 --> 00:09:51,120 Speaker 1: to go with you. Can I talk to you about 166 00:09:51,120 --> 00:09:55,040 Speaker 1: five feet apart? So when I started researching you, that's 167 00:09:55,040 --> 00:09:57,280 Speaker 1: how I discovered the score. And then I was like, oh, 168 00:09:57,320 --> 00:09:59,199 Speaker 1: the movie is on Netflix. I have this is research 169 00:09:59,320 --> 00:10:03,840 Speaker 1: I a better watch. I spent the I reckon within 170 00:10:03,880 --> 00:10:05,520 Speaker 1: about half an hour, and I cried the whole rest 171 00:10:05,559 --> 00:10:05,880 Speaker 1: of the world. 172 00:10:05,920 --> 00:10:07,720 Speaker 2: Yeah yeah, yeah. 173 00:10:07,880 --> 00:10:12,440 Speaker 1: But the score in it is it feels completely different 174 00:10:12,640 --> 00:10:16,040 Speaker 1: to the whole Yellowstone World eighteen eighty three. It feels 175 00:10:16,080 --> 00:10:20,040 Speaker 1: like almost a bit you know, ross, Like it's almost 176 00:10:20,040 --> 00:10:20,840 Speaker 1: sig ross. 177 00:10:20,679 --> 00:10:24,160 Speaker 3: It's funny to say that Cigas was one of the 178 00:10:24,200 --> 00:10:26,720 Speaker 3: big ones that was a big influence on that score. 179 00:10:27,280 --> 00:10:28,080 Speaker 2: That and Bonnie the. 180 00:10:28,559 --> 00:10:34,480 Speaker 3: Oh yeah, yeah, that kind of like recording techniques that 181 00:10:35,440 --> 00:10:37,840 Speaker 3: I would, you know, do tons of research trying to 182 00:10:37,880 --> 00:10:41,040 Speaker 3: find articles and there'd be like articles on all the 183 00:10:41,120 --> 00:10:45,280 Speaker 3: sort of eccentricities of how they made these scores, and 184 00:10:45,760 --> 00:10:48,360 Speaker 3: so yeah, a lot of it like Cigarros has this 185 00:10:48,559 --> 00:10:52,840 Speaker 3: toy keyboard that you can sing into really and you 186 00:10:52,880 --> 00:10:54,760 Speaker 3: play it back and it's really crappy, but it has 187 00:10:54,800 --> 00:10:59,640 Speaker 3: this kind of lo fi, you know, great low fi 188 00:11:00,120 --> 00:11:02,679 Speaker 3: sound to it that sounds really eerie and beautiful, and 189 00:11:03,160 --> 00:11:05,079 Speaker 3: so a lot of that I'm just sat there and 190 00:11:05,160 --> 00:11:07,880 Speaker 3: my studio was just tiny. I don't like, the worst 191 00:11:07,880 --> 00:11:12,240 Speaker 3: composer ever, Like this toy thing into it and stuff, 192 00:11:12,280 --> 00:11:13,960 Speaker 3: and so a lot of like there's a lot of 193 00:11:13,960 --> 00:11:19,400 Speaker 3: these like weird kind of vocal chirps and reverse sort 194 00:11:19,440 --> 00:11:23,440 Speaker 3: of talking kind of thing in that score that I 195 00:11:23,440 --> 00:11:25,120 Speaker 3: don't know, we were trying to come up with this 196 00:11:25,240 --> 00:11:27,600 Speaker 3: sort of textual feeling to it. All that was very 197 00:11:27,679 --> 00:11:31,559 Speaker 3: like lo fi, very like you said, Cigarettes and Z 198 00:11:31,800 --> 00:11:33,319 Speaker 3: and Bonnie Vairren. 199 00:11:33,640 --> 00:11:37,440 Speaker 1: Oh yeah, a hundred thousand million percent. I sent it 200 00:11:37,480 --> 00:11:40,040 Speaker 1: straight to my boyfriend. Was like because we both love 201 00:11:41,000 --> 00:11:43,559 Speaker 1: and I was like, you're gonna love of music, and 202 00:11:43,600 --> 00:11:45,040 Speaker 1: he said to me at the start, and I was like, 203 00:11:45,080 --> 00:11:47,160 Speaker 1: I haven't you speaking a language? And we said, I 204 00:11:47,200 --> 00:11:49,840 Speaker 1: love the pads at the start. Yeah, yeah, the pads 205 00:11:49,840 --> 00:11:50,440 Speaker 1: at the start. 206 00:11:50,600 --> 00:11:51,280 Speaker 2: Yeah yeah. 207 00:11:51,320 --> 00:11:54,960 Speaker 3: So yeah, A lot of that was sending like samples 208 00:11:55,000 --> 00:11:58,600 Speaker 3: into two pedals and stuff guitar pedals, and so it 209 00:11:58,720 --> 00:12:02,920 Speaker 3: was always about to take it away from that cleanly 210 00:12:03,000 --> 00:12:06,480 Speaker 3: recorded and actually roughing it up and making a bit 211 00:12:06,559 --> 00:12:08,360 Speaker 3: more rugged, I guess. 212 00:12:08,480 --> 00:12:11,440 Speaker 1: And it feels from like the get go very ethereal 213 00:12:11,559 --> 00:12:14,479 Speaker 1: to me, and then what I loved, like as I 214 00:12:14,480 --> 00:12:16,160 Speaker 1: I've listened to the whole score, I can't tell you 215 00:12:16,160 --> 00:12:19,120 Speaker 1: how many times, but like there's these like there's a 216 00:12:19,240 --> 00:12:22,560 Speaker 1: sense and a feeling of like hope and joy even 217 00:12:22,600 --> 00:12:27,320 Speaker 1: though the subject matter is really heartbreaking, like cystic fibrosis is. 218 00:12:27,760 --> 00:12:31,120 Speaker 1: I had no idea how terminal it was until I 219 00:12:31,160 --> 00:12:33,560 Speaker 1: watched that movie. But there's this like and this like 220 00:12:33,720 --> 00:12:36,760 Speaker 1: unrequited love kind of thing that's just never gonna work, 221 00:12:36,800 --> 00:12:40,319 Speaker 1: and you just like, oh, but then I think my favorite, 222 00:12:40,360 --> 00:12:43,840 Speaker 1: one of my favorite tracks, I think it's called the 223 00:12:43,960 --> 00:12:51,640 Speaker 1: Lights when they're saying goodbye spoiler goodbye. And the thing 224 00:12:51,679 --> 00:12:53,760 Speaker 1: that I loved about it was I went back and 225 00:12:53,800 --> 00:12:55,360 Speaker 1: listened to I watched the movie, I went back and 226 00:12:55,400 --> 00:12:57,440 Speaker 1: listened to the score like a couple of days later, 227 00:12:57,760 --> 00:13:01,960 Speaker 1: and I could feel emotional from that song a lot, 228 00:13:02,080 --> 00:13:04,200 Speaker 1: like and this is where I get I nerd out 229 00:13:04,200 --> 00:13:08,200 Speaker 1: over scores. But that's what I love because when you 230 00:13:08,760 --> 00:13:12,600 Speaker 1: hear that song without seeing it's quite Yeah, it's uplifting. 231 00:13:12,679 --> 00:13:15,920 Speaker 1: It's like there's hope. And then because I then seen 232 00:13:15,920 --> 00:13:17,840 Speaker 1: the movie and looking back, I was like, Oh, this 233 00:13:17,960 --> 00:13:23,840 Speaker 1: is like the craziest, saddest goodbye, like like admitutes of 234 00:13:23,920 --> 00:13:28,439 Speaker 1: love and there's like a beautiful like purre of heartness 235 00:13:28,440 --> 00:13:30,960 Speaker 1: to it, and it's just yeah, so that is my favorite. 236 00:13:31,480 --> 00:13:32,320 Speaker 1: Did you do that one? 237 00:13:32,480 --> 00:13:32,680 Speaker 2: Yeah? 238 00:13:32,760 --> 00:13:35,480 Speaker 3: So that I mean, I'm glad you feel that way, 239 00:13:35,480 --> 00:13:37,840 Speaker 3: because you know that means we're doing our job right, 240 00:13:37,880 --> 00:13:42,280 Speaker 3: you know. I think the important thing with that piece 241 00:13:42,480 --> 00:13:45,240 Speaker 3: was to really strip it back because you know, it's 242 00:13:45,280 --> 00:13:49,720 Speaker 3: just it's very important dialogue and if we were overstepping 243 00:13:49,760 --> 00:13:52,000 Speaker 3: it with too much emotion, I think it would have 244 00:13:52,920 --> 00:13:55,079 Speaker 3: taken it away from that. And so it ends up 245 00:13:55,160 --> 00:13:58,280 Speaker 3: just towards the end just being piano just and very 246 00:14:01,400 --> 00:14:04,480 Speaker 3: I guess the structure is really dictated by the pauses 247 00:14:04,520 --> 00:14:08,080 Speaker 3: in when he's talking, and that sort of felt like 248 00:14:09,080 --> 00:14:13,000 Speaker 3: a good answer to how to not overstep his talking 249 00:14:13,120 --> 00:14:16,679 Speaker 3: and actually have it so almost his talking is kind 250 00:14:16,679 --> 00:14:19,119 Speaker 3: of the conductor to the pianis sort of thing, and 251 00:14:19,200 --> 00:14:23,760 Speaker 3: I think, yeah, I think that you know fit quite well. 252 00:14:24,040 --> 00:14:26,720 Speaker 1: I felt, well, this comes to my next question. In 253 00:14:26,920 --> 00:14:30,360 Speaker 1: a situation like that, are you writing to like an 254 00:14:30,480 --> 00:14:33,320 Speaker 1: edit to a film? Are you watching and writing to 255 00:14:33,640 --> 00:14:34,720 Speaker 1: the cut? 256 00:14:35,480 --> 00:14:39,160 Speaker 3: So fad sometimes it doesn't work like that, and it 257 00:14:39,240 --> 00:14:41,480 Speaker 3: tends to be just a project by a project basis. 258 00:14:41,880 --> 00:14:44,600 Speaker 3: So for eighteen eighty three, we were doing score before 259 00:14:44,640 --> 00:14:45,560 Speaker 3: we'd even seen it. 260 00:14:45,680 --> 00:14:48,160 Speaker 1: Wasn't it script or something really early on? 261 00:14:48,240 --> 00:14:50,800 Speaker 3: Yeah, yeah, So a lot of we were doing big 262 00:14:50,840 --> 00:14:53,880 Speaker 3: sweets for that, and so they were a big sweet. 263 00:14:53,920 --> 00:14:54,320 Speaker 2: Oh sorry. 264 00:14:54,440 --> 00:14:58,560 Speaker 3: Sweet is like basically kind of a it would be 265 00:14:58,960 --> 00:15:01,640 Speaker 3: like a ten to fifteen minute piece of music that 266 00:15:01,720 --> 00:15:04,320 Speaker 3: goes through lots of different themes. It's like a taste 267 00:15:04,360 --> 00:15:07,120 Speaker 3: of food, and it's a good way for us to 268 00:15:08,400 --> 00:15:14,400 Speaker 3: communicate to, you know, Tellor Sheridan, what we are thinking 269 00:15:14,440 --> 00:15:16,800 Speaker 3: with the music and all the highs and lows and 270 00:15:17,320 --> 00:15:20,640 Speaker 3: underscore and where we want to take the music, and 271 00:15:20,680 --> 00:15:24,000 Speaker 3: so thankfully he loved it, and so it went to 272 00:15:24,040 --> 00:15:26,480 Speaker 3: the editors, and the editors start taking bits of it 273 00:15:26,560 --> 00:15:31,400 Speaker 3: and start editing towards that, which is amazing for the 274 00:15:31,520 --> 00:15:33,720 Speaker 3: music because it means that, you know, the picture ends 275 00:15:33,800 --> 00:15:35,600 Speaker 3: up really sitting nicely with the music. 276 00:15:35,720 --> 00:15:39,000 Speaker 1: Oh, like I said, we're going to do dive just 277 00:15:39,080 --> 00:15:42,880 Speaker 1: like completely. I was just saying to We've got our 278 00:15:42,960 --> 00:15:45,280 Speaker 1: house in Bayron. I've got this like black and white 279 00:15:45,480 --> 00:15:48,720 Speaker 1: print of Sam Elliott from eighteen eighty three that I want. 280 00:15:49,560 --> 00:15:51,520 Speaker 1: My boyfriend's like, are you sure? And I'm one hundred 281 00:15:51,520 --> 00:15:58,960 Speaker 1: percent it's happening. It's happening, just with the the five 282 00:15:59,000 --> 00:16:01,720 Speaker 1: feet apart and this mic. I guess, like you said, 283 00:16:01,760 --> 00:16:06,280 Speaker 1: case by case or project by project. Like as someone 284 00:16:06,320 --> 00:16:08,880 Speaker 1: that is training as an actor, I use music for 285 00:16:08,920 --> 00:16:11,040 Speaker 1: every single scene that I do, Like I'll just go 286 00:16:11,080 --> 00:16:13,280 Speaker 1: on research what feels like is kind of like a 287 00:16:13,320 --> 00:16:17,760 Speaker 1: theme for that scene or for that character. Does sometimes 288 00:16:18,000 --> 00:16:19,880 Speaker 1: some of the score get given to the actors to 289 00:16:20,000 --> 00:16:20,520 Speaker 1: work with. 290 00:16:21,360 --> 00:16:24,720 Speaker 3: Yeah, I mean it's it does happen like I did 291 00:16:24,720 --> 00:16:27,560 Speaker 3: with eighteen eighty three that the actors were given it. 292 00:16:27,960 --> 00:16:28,360 Speaker 2: I've done. 293 00:16:28,560 --> 00:16:33,120 Speaker 3: I also did a short film by a director called 294 00:16:33,120 --> 00:16:37,240 Speaker 3: Sean Wung, and he he had asked me he'd send 295 00:16:37,240 --> 00:16:39,600 Speaker 3: me the script, So similar situation eighty and eighty three, 296 00:16:40,080 --> 00:16:43,040 Speaker 3: does he send me a script? And I wrote a 297 00:16:43,120 --> 00:16:46,000 Speaker 3: rough demo idea and he was sending it to He 298 00:16:46,040 --> 00:16:48,400 Speaker 3: had it on set with the actors and so they 299 00:16:48,440 --> 00:16:49,000 Speaker 3: could hear it. 300 00:16:49,080 --> 00:16:50,560 Speaker 2: And I love. 301 00:16:50,480 --> 00:16:53,520 Speaker 3: Getting the mind. It's something that I'd never really thought 302 00:16:53,520 --> 00:16:56,720 Speaker 3: about for actors. Oh, we're usually right at the end 303 00:16:56,840 --> 00:16:58,360 Speaker 3: of the production line sort of thing. 304 00:16:58,520 --> 00:17:01,400 Speaker 1: So I feel like it'd be a game changer. 305 00:17:01,080 --> 00:17:01,680 Speaker 2: For an actor. 306 00:17:01,960 --> 00:17:04,520 Speaker 3: I mean, it's a lovely way to sort of feel 307 00:17:05,160 --> 00:17:07,720 Speaker 3: sort of a different way of collaborating, I guess. 308 00:17:07,640 --> 00:17:09,919 Speaker 1: And you would understand all this stuff because it's what 309 00:17:10,000 --> 00:17:13,159 Speaker 1: you do, but like the psychological effect of music, like 310 00:17:13,240 --> 00:17:16,040 Speaker 1: it would just be such a like a magic resource 311 00:17:16,119 --> 00:17:18,560 Speaker 1: to access something that you may not have even been 312 00:17:18,600 --> 00:17:19,080 Speaker 1: aware of. 313 00:17:19,240 --> 00:17:21,560 Speaker 3: Yeah, it's sort of like doing it in reverse because 314 00:17:21,560 --> 00:17:25,400 Speaker 3: we are getting our cues from the actors and figuring 315 00:17:25,400 --> 00:17:28,320 Speaker 3: out what they're doing, and so it's nice to to 316 00:17:28,359 --> 00:17:29,120 Speaker 3: give a fact. 317 00:17:28,880 --> 00:17:30,280 Speaker 2: To you guys, make you guys do that. 318 00:17:30,640 --> 00:17:33,560 Speaker 1: Yeah, I mean I'm an auditory person, so I know 319 00:17:33,640 --> 00:17:36,560 Speaker 1: that that's a non negotiable for me to just even 320 00:17:36,600 --> 00:17:38,399 Speaker 1: if it's like, find a song that feels like that 321 00:17:38,480 --> 00:17:41,520 Speaker 1: suits that. Yeah, yeah, the values even of the character. 322 00:17:41,760 --> 00:17:45,000 Speaker 1: But my other question, this is probably more of a 323 00:17:45,040 --> 00:17:50,720 Speaker 1: technical question. So again this is different to Yellowstone Age 324 00:17:50,760 --> 00:17:53,160 Speaker 1: and eighty three, even with five feet apart, there's also 325 00:17:54,640 --> 00:17:57,640 Speaker 1: contemporary songs that they've obviously got artists to or they've 326 00:17:57,680 --> 00:17:59,760 Speaker 1: bought those songs. Is that completely separate to you? Guys? 327 00:17:59,840 --> 00:18:01,080 Speaker 1: Like that a production thing? 328 00:18:01,240 --> 00:18:04,800 Speaker 3: It's so usually the music supervisor will handle that, getting 329 00:18:04,800 --> 00:18:08,439 Speaker 3: clearances and things like that. The ways in which it 330 00:18:08,480 --> 00:18:11,240 Speaker 3: does affect us is if there's score leading on to 331 00:18:12,840 --> 00:18:15,800 Speaker 3: a song that hasn't been licensed yet, so we will 332 00:18:15,920 --> 00:18:20,320 Speaker 3: usually leave that later on unless the director really wants 333 00:18:20,440 --> 00:18:21,080 Speaker 3: that scene. 334 00:18:21,400 --> 00:18:24,359 Speaker 1: And then like I feel like, is trailer music different? 335 00:18:24,400 --> 00:18:27,520 Speaker 3: Again, trailer is completely different. That will be outsourced by 336 00:18:27,600 --> 00:18:30,600 Speaker 3: the studios with their trailer people, and so they will 337 00:18:30,640 --> 00:18:36,200 Speaker 3: do that unless unless we're eighteen eighty three we had. 338 00:18:36,040 --> 00:18:38,680 Speaker 1: To do that and there was a music score trailer. 339 00:18:38,760 --> 00:18:42,240 Speaker 3: Yeah, yeah, which I think is it's I mean, there's 340 00:18:42,280 --> 00:18:45,160 Speaker 3: a composer who argues about it and says we need 341 00:18:45,200 --> 00:18:47,200 Speaker 3: to be doing that because it's all about the package 342 00:18:47,280 --> 00:18:50,280 Speaker 3: of the music and you get to show people some 343 00:18:50,359 --> 00:18:53,040 Speaker 3: of the themes and so it was really cool and 344 00:18:53,280 --> 00:18:56,400 Speaker 3: it really works well with the picture, and it's sort 345 00:18:56,400 --> 00:18:58,720 Speaker 3: of I don't know, Yeah, it's hard to imagine what 346 00:18:58,800 --> 00:19:00,840 Speaker 3: that would be like with a different in score. 347 00:19:01,480 --> 00:19:03,399 Speaker 1: Well, the only reason why I asked all this is 348 00:19:03,440 --> 00:19:05,960 Speaker 1: somebody's when I told when I told an acting bud 349 00:19:06,000 --> 00:19:08,320 Speaker 1: that I was interviewing you, they said, oh, have you 350 00:19:08,320 --> 00:19:10,720 Speaker 1: heard about the score for Top Gun? And I was like, 351 00:19:10,720 --> 00:19:13,359 Speaker 1: I'm pretty sure it's Hans Zimmer And they're like, do 352 00:19:13,400 --> 00:19:15,960 Speaker 1: you know that song that's been going gang buses everywhere 353 00:19:15,960 --> 00:19:19,000 Speaker 1: that I think it's a one Republic song. It's like 354 00:19:19,040 --> 00:19:22,280 Speaker 1: this famous scene where they reenact the scene from the eighties. 355 00:19:22,560 --> 00:19:25,200 Speaker 1: They're playing volleyball on the beach in their eighties version 356 00:19:25,280 --> 00:19:28,000 Speaker 1: and then they're playing touch football, probably using the wrong 357 00:19:28,119 --> 00:19:31,119 Speaker 1: terminology for football, but you know what I'm talking. And 358 00:19:31,240 --> 00:19:34,320 Speaker 1: this song has just like there's memes going around of 359 00:19:34,359 --> 00:19:37,040 Speaker 1: like all the casts looking ripped, but to this I 360 00:19:37,040 --> 00:19:39,520 Speaker 1: think it's called I Ain't Worried by One probably anyway, 361 00:19:39,640 --> 00:19:42,040 Speaker 1: it was the thirty first submission. 362 00:19:42,200 --> 00:19:44,040 Speaker 2: Really for that piece, for. 363 00:19:43,960 --> 00:19:46,320 Speaker 1: That Pete for the music to be used for that scene. 364 00:19:46,359 --> 00:19:48,240 Speaker 1: So I get, I understand it's whole different world, but 365 00:19:48,280 --> 00:19:51,240 Speaker 1: I imagine in a way there's going to have to be 366 00:19:51,240 --> 00:19:53,880 Speaker 1: a moment where it does a cross over a little 367 00:19:53,920 --> 00:19:57,240 Speaker 1: bit and affect the other interesting. 368 00:19:57,400 --> 00:20:00,240 Speaker 3: I know that for studios that they're very precise. It's 369 00:20:01,400 --> 00:20:04,440 Speaker 3: and I think they'll go as far as to test 370 00:20:04,480 --> 00:20:06,680 Speaker 3: it with the public as well. Oh yeah, sure they 371 00:20:06,760 --> 00:20:10,760 Speaker 3: get the best, you know, the best, like the most 372 00:20:10,760 --> 00:20:11,280 Speaker 3: amount ahead. 373 00:20:11,359 --> 00:20:13,760 Speaker 1: They do that for most movies too, Like they'll bring 374 00:20:13,760 --> 00:20:14,679 Speaker 1: in and do it. 375 00:20:14,680 --> 00:20:15,080 Speaker 2: Definitely. 376 00:20:15,359 --> 00:20:21,199 Speaker 1: It's so fascinating. Okay, let's talk Yellowstone because if I 377 00:20:21,320 --> 00:20:26,600 Speaker 1: had to, like to me, the feeling of like listening 378 00:20:26,640 --> 00:20:28,399 Speaker 1: to yellows and there's just like such a sense of 379 00:20:28,440 --> 00:20:33,280 Speaker 1: like epicness it and it feels almost otherworldly to me. 380 00:20:33,520 --> 00:20:36,400 Speaker 1: And I love that it's not the cliche like Wester 381 00:20:37,560 --> 00:20:43,359 Speaker 1: it feels, but it feels like there's a and I 382 00:20:43,400 --> 00:20:45,440 Speaker 1: mean this in a good way. But there's a heaviness, 383 00:20:45,840 --> 00:20:51,320 Speaker 1: like it's meaty, there's there's danger, there's the steaks feel 384 00:20:51,359 --> 00:20:52,760 Speaker 1: really really really high. 385 00:20:52,840 --> 00:20:54,760 Speaker 2: Yeah. 386 00:20:53,160 --> 00:20:56,479 Speaker 1: Yeah, can you share a little bit about I've just 387 00:20:56,520 --> 00:20:59,960 Speaker 1: like verbal diarrhe how it makes you feel. 388 00:21:00,560 --> 00:21:03,399 Speaker 3: Yeah, I'm glad you get all that. We so Yellowstone, 389 00:21:03,440 --> 00:21:08,800 Speaker 3: the idea was to take a lot of what the 390 00:21:09,080 --> 00:21:14,000 Speaker 3: musical culture languages that would have been brought over by 391 00:21:14,160 --> 00:21:17,639 Speaker 3: immigrants to the US, and so a lot of it 392 00:21:17,680 --> 00:21:23,040 Speaker 3: is very European in sort of in its musical language 393 00:21:23,080 --> 00:21:26,439 Speaker 3: and instrument choice and things like that. So you have 394 00:21:26,480 --> 00:21:30,840 Speaker 3: a lot of like Berzuki, Greek bozuki mandolin. When it's 395 00:21:30,840 --> 00:21:33,480 Speaker 3: a violin, it's a fiddle. It's not like your standards, 396 00:21:34,920 --> 00:21:39,600 Speaker 3: you know, classical repertoire sort of violin. And so I 397 00:21:39,640 --> 00:21:43,760 Speaker 3: guess like that that was basically how we wanted to 398 00:21:43,800 --> 00:21:48,040 Speaker 3: not do the Western thing but do something kind of different, 399 00:21:48,200 --> 00:21:51,760 Speaker 3: because I think you can do that and it probably 400 00:21:51,760 --> 00:21:55,359 Speaker 3: go down well in sort of like a retro vibe, 401 00:21:55,400 --> 00:21:58,840 Speaker 3: but it just didn't feel right with with the themes 402 00:21:59,080 --> 00:22:02,560 Speaker 3: in the show and they're talking about and so yeah, 403 00:22:02,600 --> 00:22:05,760 Speaker 3: a lot of it was finding those sorts of instruments 404 00:22:05,800 --> 00:22:10,480 Speaker 3: and kind of sweetening them with with your classic film 405 00:22:10,480 --> 00:22:13,960 Speaker 3: score style. And look, I mean a lot of my 406 00:22:15,040 --> 00:22:19,199 Speaker 3: music ends up sounding very English just because naturally I 407 00:22:19,359 --> 00:22:22,439 Speaker 3: like a lot of you know, Vaughan Williams and William Walton, 408 00:22:22,560 --> 00:22:25,280 Speaker 3: Britain and people like that, and so I can't help 409 00:22:25,280 --> 00:22:28,439 Speaker 3: but get away, not get away from that sound. And 410 00:22:28,520 --> 00:22:31,000 Speaker 3: so I guess in a way that sort of helped 411 00:22:31,000 --> 00:22:34,840 Speaker 3: as well, because there was a lot of that kind 412 00:22:34,880 --> 00:22:39,439 Speaker 3: of style like coming over from and I'm myself and 413 00:22:39,760 --> 00:22:40,880 Speaker 3: you know, an immigrant as well. 414 00:22:40,920 --> 00:22:43,280 Speaker 2: So I guess that works nicely as well. 415 00:22:43,400 --> 00:22:48,560 Speaker 1: So it's so to me, it is so interesting, and 416 00:22:49,240 --> 00:22:54,120 Speaker 1: so I guess my question around Yellowstone Obviously it's so iconic, 417 00:22:54,240 --> 00:22:58,359 Speaker 1: and I think it was like the most stream TV show. Ye, 418 00:22:59,359 --> 00:23:04,760 Speaker 1: Like it's we're talking about a humongous Like since I've 419 00:23:04,800 --> 00:23:07,080 Speaker 1: watched eighteen eighty three, I always thought, oh, I'm going 420 00:23:07,119 --> 00:23:08,680 Speaker 1: to buy in La. I'm gonna buy my first place 421 00:23:08,720 --> 00:23:10,280 Speaker 1: in La. Since watching eight and eighty three, I was like, 422 00:23:10,440 --> 00:23:12,680 Speaker 1: if that I'm buying Wyoming or Montana? 423 00:23:13,000 --> 00:23:14,720 Speaker 2: Yeah, And. 424 00:23:16,359 --> 00:23:19,080 Speaker 1: Does the scenery or the nature because it's like so 425 00:23:19,320 --> 00:23:24,240 Speaker 1: earthy and like there's this almost like I want to say, guttural, 426 00:23:24,240 --> 00:23:27,159 Speaker 1: but it's like that real like the power of nature. 427 00:23:27,400 --> 00:23:31,000 Speaker 1: You feel it in I think Yellowstone and eighteen eighty three, 428 00:23:31,320 --> 00:23:34,400 Speaker 1: Like is that at all an inspiration or is it 429 00:23:34,480 --> 00:23:37,640 Speaker 1: more like okay, theme driven, character driven and like you said, 430 00:23:37,680 --> 00:23:42,919 Speaker 1: like the sounds of like the Immigrants. But does nature 431 00:23:42,920 --> 00:23:45,320 Speaker 1: have any plane because it's such an incredible location. 432 00:23:45,600 --> 00:23:49,760 Speaker 3: Yeah, well, I think I think we never talk about it, 433 00:23:49,800 --> 00:23:52,320 Speaker 3: but it's I'm sure it's sort of a subliminal thing 434 00:23:52,359 --> 00:23:54,600 Speaker 3: when you're seeing shots and the beauty of nature that 435 00:23:54,640 --> 00:23:57,959 Speaker 3: would definitely be dictating the kind of sounds you know 436 00:23:58,040 --> 00:24:01,000 Speaker 3: you'll be doing. And I think if you think about nature, 437 00:24:01,000 --> 00:24:02,560 Speaker 3: it's like what you're saying, it has this sort of 438 00:24:02,640 --> 00:24:06,080 Speaker 3: earth equality that's or immediately that's going to direct you 439 00:24:06,280 --> 00:24:08,800 Speaker 3: into a certain style of music. You know, it's not 440 00:24:08,840 --> 00:24:11,600 Speaker 3: going to be full on action music over the top 441 00:24:11,600 --> 00:24:16,680 Speaker 3: of that or whatnot. But and definitely in terms of 442 00:24:16,720 --> 00:24:20,280 Speaker 3: the scenery and the setting and just the color of 443 00:24:20,320 --> 00:24:24,159 Speaker 3: the film, Yeah, I guess that it all adds to 444 00:24:24,880 --> 00:24:26,120 Speaker 3: heading in a certain direction. 445 00:24:26,600 --> 00:24:26,760 Speaker 2: You know. 446 00:24:27,000 --> 00:24:29,439 Speaker 3: I feel like film music is all about, you know, 447 00:24:29,520 --> 00:24:32,040 Speaker 3: tell it, figuring out what you don't want to have 448 00:24:32,160 --> 00:24:36,120 Speaker 3: in it. And I think that all this, all this 449 00:24:36,280 --> 00:24:39,120 Speaker 3: kind of stuff just helps us queue into, you know, 450 00:24:39,240 --> 00:24:40,280 Speaker 3: what will work. 451 00:24:40,119 --> 00:24:40,800 Speaker 2: And what doesn't. 452 00:24:41,640 --> 00:24:47,280 Speaker 1: How obviously Taylor Sheridan is an absolute creative genius. Does 453 00:24:47,359 --> 00:24:49,560 Speaker 1: he bring on like feedback or is it just or 454 00:24:49,560 --> 00:24:50,840 Speaker 1: does he let you run wild? 455 00:24:51,240 --> 00:24:52,359 Speaker 2: Yeah? It's a bit of both. 456 00:24:52,440 --> 00:24:58,480 Speaker 3: Like I think with Yellowstone it was just you know, yeah, 457 00:24:58,480 --> 00:25:00,359 Speaker 3: he just gives us a lot of freedom to do 458 00:25:00,400 --> 00:25:01,960 Speaker 3: what we need to do, and I think there's a 459 00:25:01,960 --> 00:25:07,920 Speaker 3: lot of trust as well, And so yeah, it's really 460 00:25:07,920 --> 00:25:10,840 Speaker 3: good to have that because you're not so worried about 461 00:25:10,880 --> 00:25:14,280 Speaker 3: what you're writing and actually you're writing what you feel 462 00:25:14,320 --> 00:25:15,080 Speaker 3: the show needs. 463 00:25:16,000 --> 00:25:18,000 Speaker 1: It must also feel good to work with someone that 464 00:25:18,200 --> 00:25:22,600 Speaker 1: like everything they've created is like it's almost like no 465 00:25:22,640 --> 00:25:27,280 Speaker 1: matter what the movie, TV show is, is like this 466 00:25:27,400 --> 00:25:30,960 Speaker 1: real sense of like raw truth like and so even 467 00:25:31,000 --> 00:25:33,000 Speaker 1: though like he's giving you so much us, I know 468 00:25:33,040 --> 00:25:34,800 Speaker 1: that like if I was working with tailors Sharon and 469 00:25:34,800 --> 00:25:37,320 Speaker 1: I would probably feel a real sense of trust of like, hey, 470 00:25:37,560 --> 00:25:41,640 Speaker 1: like this is a storyteller that writes in such an 471 00:25:41,640 --> 00:25:44,879 Speaker 1: honest way and there's almost a sense of almost like 472 00:25:45,000 --> 00:25:48,720 Speaker 1: poetry in some of the script. And so I just 473 00:25:48,760 --> 00:25:52,720 Speaker 1: think it's a pretty cool person to be composing for. 474 00:25:52,920 --> 00:25:57,400 Speaker 3: Yeah, I mean, honestly, like the things that we've done, 475 00:25:57,760 --> 00:26:02,520 Speaker 3: I think, have you know I have been inspired by Well, 476 00:26:02,560 --> 00:26:06,320 Speaker 3: it definitely has been inspired by his writing, his vision 477 00:26:06,440 --> 00:26:10,080 Speaker 3: of the world, and I think it wouldn't have happened 478 00:26:10,119 --> 00:26:13,720 Speaker 3: without his sort of trust and you know, letting us 479 00:26:13,800 --> 00:26:16,399 Speaker 3: go to places that we want to go to with that. 480 00:26:17,280 --> 00:26:19,760 Speaker 1: Ah, I love it. Okay, are you ready for my favor? 481 00:26:19,840 --> 00:26:24,240 Speaker 1: Eighteen eighty So literally I said to you when you 482 00:26:24,320 --> 00:26:26,639 Speaker 1: walked in here, you're like, how'd you find me? That's okay. 483 00:26:26,680 --> 00:26:31,080 Speaker 1: I watched eighteen eighteen and it's the first show I've 484 00:26:31,160 --> 00:26:34,879 Speaker 1: ever watched, and I can never skip the intro after 485 00:26:35,800 --> 00:26:41,959 Speaker 1: I have to reexperience that, Like, yes, the theme is iconic, 486 00:26:42,040 --> 00:26:43,960 Speaker 1: but I really want to talk to you about my 487 00:26:44,000 --> 00:26:47,440 Speaker 1: favorite song on the It's I hope I'm saying it right? 488 00:26:47,680 --> 00:26:48,879 Speaker 1: Is it Requiem? 489 00:26:49,000 --> 00:26:51,679 Speaker 2: Requiem? Yeah? Yeah, there's bit under Sam Eliot. 490 00:26:51,720 --> 00:26:56,200 Speaker 1: Yeah, Oh my goodness, like way to like put a 491 00:26:56,280 --> 00:26:59,360 Speaker 1: dagger in our heart from the get go, because there 492 00:26:59,400 --> 00:27:03,200 Speaker 1: is no dialog in this scene and it's an extremely 493 00:27:03,280 --> 00:27:08,120 Speaker 1: heartbreaking yeah yeah, yeah scene, and Sam Elliott has said 494 00:27:08,160 --> 00:27:10,679 Speaker 1: in interviews it's the most heartbreaking scene of his career. 495 00:27:10,800 --> 00:27:11,800 Speaker 2: Oh really, I didn't know that. 496 00:27:12,160 --> 00:27:15,280 Speaker 1: Yeah, And so can you talk to me a bit 497 00:27:15,320 --> 00:27:19,000 Speaker 1: about that piece of music and how that came about 498 00:27:19,080 --> 00:27:22,760 Speaker 1: because it does set a huge tone for the journey 499 00:27:22,760 --> 00:27:25,040 Speaker 1: We're all about Tombark when we watch it so. 500 00:27:25,359 --> 00:27:27,280 Speaker 3: Like we was naming Taylor, like he just gives these 501 00:27:27,320 --> 00:27:31,639 Speaker 3: moments that allow us to really go, you know, do 502 00:27:31,760 --> 00:27:35,560 Speaker 3: something with the music. And so yeah, so for that piece, 503 00:27:36,840 --> 00:27:39,760 Speaker 3: a lot of it, well I should step back a bit, 504 00:27:40,000 --> 00:27:42,440 Speaker 3: Like so eighteen eighty three we were trying to follow 505 00:27:43,160 --> 00:27:49,879 Speaker 3: that same idea with the Yellowstone of the immigrant bringing 506 00:27:49,920 --> 00:27:52,760 Speaker 3: over instruments. We just wanted to got older and just 507 00:27:53,040 --> 00:27:56,200 Speaker 3: explore it a bit more in depth. And so with 508 00:27:56,720 --> 00:28:03,000 Speaker 3: that piece of music, it's structured by this is going 509 00:28:03,040 --> 00:28:06,640 Speaker 3: to get a bit nerdy, please please. It's structured with 510 00:28:06,720 --> 00:28:10,159 Speaker 3: like a lot of four to one chords, which in music, 511 00:28:10,240 --> 00:28:13,320 Speaker 3: it's it's you use a four to one. 512 00:28:13,600 --> 00:28:15,880 Speaker 2: It's a plagueal cadence, which is very church music. 513 00:28:15,880 --> 00:28:19,560 Speaker 3: You'll end your music and it's what you put amen 514 00:28:20,000 --> 00:28:24,040 Speaker 3: under ah, and so's it has that history. And so 515 00:28:24,840 --> 00:28:26,760 Speaker 3: that was the starting off point with that piece of 516 00:28:26,840 --> 00:28:31,119 Speaker 3: music because it just felt right because it's such a 517 00:28:31,280 --> 00:28:34,520 Speaker 3: somber moment, like death is present within the room as 518 00:28:34,600 --> 00:28:38,960 Speaker 3: much life as you know, and it's almost like, you know, 519 00:28:40,560 --> 00:28:43,800 Speaker 3: it needed something that felt like holy and kind of 520 00:28:44,160 --> 00:28:47,120 Speaker 3: and so that's why that was sort of a jumping 521 00:28:47,160 --> 00:28:50,800 Speaker 3: off point in terms of harmonic structure with that sort 522 00:28:50,840 --> 00:28:56,160 Speaker 3: of piece, and then it's composed with this sort of 523 00:28:56,200 --> 00:29:01,000 Speaker 3: technique that a Estonian composer made. He's called Arvo pat 524 00:29:01,880 --> 00:29:06,200 Speaker 3: He's still around. He was silenced by Soviet Russia for 525 00:29:06,240 --> 00:29:09,520 Speaker 3: a long time. Yeah, and so and his music is 526 00:29:09,640 --> 00:29:14,200 Speaker 3: very he's very Christian and his music is very very 527 00:29:14,200 --> 00:29:19,000 Speaker 3: religious and has that sort of quite it's very beautiful 528 00:29:19,000 --> 00:29:19,800 Speaker 3: and it's simplicity. 529 00:29:20,120 --> 00:29:24,320 Speaker 1: I think Russian music is this is totally going to digress, 530 00:29:24,360 --> 00:29:26,680 Speaker 1: but when I'm working on a manuscript, I listened to 531 00:29:26,680 --> 00:29:31,920 Speaker 1: the Russian Red Army. Oh yeah, yeah, because it's like 532 00:29:31,960 --> 00:29:37,040 Speaker 1: you've had five coffees, but so there's something so yeah, 533 00:29:37,040 --> 00:29:40,800 Speaker 1: there's something so powerful. Yeah yeah, yeah, Okay, I digressed. 534 00:29:41,200 --> 00:29:43,000 Speaker 2: Sorry, he's a Estonian. 535 00:29:42,920 --> 00:29:46,960 Speaker 1: So I've totally gone off the track, but you keep going. 536 00:29:47,640 --> 00:29:50,160 Speaker 3: But so him being Estonian like made it feel like 537 00:29:50,560 --> 00:29:53,160 Speaker 3: back to that sort of yeah, you know, old old 538 00:29:53,200 --> 00:29:59,000 Speaker 3: world sort of influencers in there, and and so yeah, 539 00:29:59,040 --> 00:30:02,120 Speaker 3: and the piece, you it's structured in a way that 540 00:30:02,160 --> 00:30:04,920 Speaker 3: it starts very it just sort of comes in very quietly. 541 00:30:05,040 --> 00:30:08,240 Speaker 3: And then when once you start to realize that, you know, 542 00:30:08,280 --> 00:30:13,520 Speaker 3: he's just going to burn his entire house down. The music, 543 00:30:13,640 --> 00:30:17,000 Speaker 3: you know, builds and crescendos in this big moment and 544 00:30:17,040 --> 00:30:18,840 Speaker 3: then I've got to say, like that shot at the 545 00:30:18,920 --> 00:30:21,680 Speaker 3: end of that scene, it's just phenomenal. It was I 546 00:30:21,680 --> 00:30:25,160 Speaker 3: don't know, it had the just watching it, I had 547 00:30:25,160 --> 00:30:26,560 Speaker 3: the hairs on the back of my neck. 548 00:30:26,680 --> 00:30:27,560 Speaker 2: So stand up. 549 00:30:28,040 --> 00:30:30,520 Speaker 1: Was that an example of when an actor got access 550 00:30:30,520 --> 00:30:32,040 Speaker 1: to the music before they did the same? 551 00:30:32,120 --> 00:30:32,760 Speaker 2: Oh, I'm not sure. 552 00:30:32,880 --> 00:30:36,720 Speaker 1: Could you imagine that would be so powerful? Because in 553 00:30:36,800 --> 00:30:40,280 Speaker 1: the interview I saw with Sam Elliott, he said, imagine 554 00:30:40,280 --> 00:30:43,920 Speaker 1: burning your daughter and your wife. Yeah, he's just he's like, 555 00:30:44,000 --> 00:30:45,760 Speaker 1: just sit with that for a moment. He's I can 556 00:30:45,800 --> 00:30:48,040 Speaker 1: go there, and he's like, that's how I got there 557 00:30:48,040 --> 00:30:49,920 Speaker 1: because someone said how did you get there? And he 558 00:30:50,040 --> 00:30:53,160 Speaker 1: was like, just imagine that that happened. 559 00:30:53,480 --> 00:30:56,800 Speaker 3: Like it's it's so heart break and he's phenomenal. 560 00:30:56,880 --> 00:30:57,040 Speaker 1: You know. 561 00:30:57,960 --> 00:30:59,720 Speaker 3: We almost don't need to do much with the music 562 00:30:59,720 --> 00:31:00,720 Speaker 3: because he's just doing it. 563 00:31:01,040 --> 00:31:07,720 Speaker 1: Oh, he's an alien in an absolute world of his own. 564 00:31:07,760 --> 00:31:10,680 Speaker 1: Do you have a favorite track off that I. 565 00:31:10,600 --> 00:31:14,320 Speaker 3: Love that that track, yeah, because it was you know, 566 00:31:14,480 --> 00:31:17,800 Speaker 3: it was one of the earlier ones. There was also 567 00:31:18,880 --> 00:31:21,760 Speaker 3: we have to shift the theme once I don't know 568 00:31:21,760 --> 00:31:22,880 Speaker 3: how you would spoilers? 569 00:31:22,920 --> 00:31:23,440 Speaker 2: Are we spoiler? 570 00:31:23,560 --> 00:31:24,040 Speaker 1: You spoiler? 571 00:31:25,040 --> 00:31:25,600 Speaker 2: So when. 572 00:31:27,280 --> 00:31:30,640 Speaker 3: Sam meets Elsa, I also meets Sam. They start to 573 00:31:30,640 --> 00:31:34,640 Speaker 3: have their own theme coming in which it's it's really 574 00:31:34,640 --> 00:31:37,400 Speaker 3: cool to be able to introduce a theme, you know, 575 00:31:37,480 --> 00:31:41,440 Speaker 3: pretty much over halfway through the show, there's something new 576 00:31:41,520 --> 00:31:46,080 Speaker 3: and different, and so I really like their theme as well. 577 00:31:47,440 --> 00:31:50,440 Speaker 3: And then also there's a we do a reprisal of 578 00:31:50,760 --> 00:31:56,160 Speaker 3: Requiem when Elsa loses n Us and she's a similar situations. 579 00:31:56,200 --> 00:32:00,000 Speaker 3: She's just you know, balling our eyes out and completely destroyed, 580 00:32:00,120 --> 00:32:05,880 Speaker 3: and we did that in we reprised Recqueen, but we 581 00:32:05,920 --> 00:32:08,120 Speaker 3: did it in a different way. So it's all quiet, 582 00:32:10,360 --> 00:32:12,160 Speaker 3: and then you have the back of the strings and 583 00:32:12,200 --> 00:32:14,520 Speaker 3: then there's like a hurdy gurdy that's doing this sort 584 00:32:14,560 --> 00:32:17,680 Speaker 3: of harmonics, and so it has this eerie sort of. 585 00:32:17,800 --> 00:32:21,560 Speaker 1: There's a real hauntingness to this whole sound. And that's 586 00:32:21,600 --> 00:32:24,240 Speaker 1: where like if I listened to Yellowstone, then I listened 587 00:32:24,240 --> 00:32:28,680 Speaker 1: to eighteen eighty three, there's something like very haunting and 588 00:32:28,720 --> 00:32:30,800 Speaker 1: the heartbreak is there and you can feel pain nearly 589 00:32:30,920 --> 00:32:33,520 Speaker 1: the whole way. It's not in a bad way, but 590 00:32:33,680 --> 00:32:35,840 Speaker 1: just did a like I was going through the state. 591 00:32:35,920 --> 00:32:39,120 Speaker 1: I've watched eighteen eighty three four times. Yeah, but I 592 00:32:39,200 --> 00:32:42,120 Speaker 1: just find that the last it's so heartbreaking the very end, 593 00:32:42,160 --> 00:32:44,080 Speaker 1: and I'm just like, Okay, we're going to g up 594 00:32:44,120 --> 00:32:47,160 Speaker 1: with this Slowa Like. But I would listen to the 595 00:32:47,200 --> 00:32:49,360 Speaker 1: soundtrack going to and from yoga, and there was a 596 00:32:49,360 --> 00:32:51,840 Speaker 1: point where I was like, you're really going to be there. 597 00:32:51,880 --> 00:32:53,920 Speaker 1: You've got to sit there listen to a really happy 598 00:32:54,040 --> 00:32:57,680 Speaker 1: up song now, because you can get into this like beautiful, 599 00:32:57,840 --> 00:33:00,880 Speaker 1: like emotive melancholy state. But that's and this is where 600 00:33:00,880 --> 00:33:03,840 Speaker 1: I get so excited about like the power of a 601 00:33:03,880 --> 00:33:06,800 Speaker 1: score or the power of music. My question view is 602 00:33:06,840 --> 00:33:09,840 Speaker 1: did you get to see it before it came out 603 00:33:09,840 --> 00:33:11,640 Speaker 1: and see the music match with Like do you get 604 00:33:11,640 --> 00:33:12,920 Speaker 1: to go to like a cast and crew screen. 605 00:33:13,080 --> 00:33:14,320 Speaker 2: Yeah, we did a premiere. 606 00:33:14,440 --> 00:33:16,640 Speaker 3: It was it was in Las Vegas at the Win 607 00:33:17,520 --> 00:33:20,760 Speaker 3: and so it was great because you get to see 608 00:33:20,760 --> 00:33:23,080 Speaker 3: it on you know, cinema screen and so you get 609 00:33:23,080 --> 00:33:26,680 Speaker 3: to hear it and you know, doing TV, it's it's 610 00:33:27,000 --> 00:33:29,440 Speaker 3: you know, you're watching it on TV and it's on 611 00:33:30,120 --> 00:33:34,400 Speaker 3: you know whatever speaker system, yeah, laptop or headphones, and 612 00:33:34,480 --> 00:33:36,320 Speaker 3: so it was amazing to be able to experience it 613 00:33:37,000 --> 00:33:41,120 Speaker 3: on these big speakers and they have it's a perforated screen, 614 00:33:41,200 --> 00:33:44,600 Speaker 3: so they have speakers behind as well on on cinemas, 615 00:33:44,600 --> 00:33:47,520 Speaker 3: so you hear it very differently to how you would 616 00:33:47,880 --> 00:33:52,240 Speaker 3: at home and so and then also to hear it 617 00:33:52,280 --> 00:33:56,840 Speaker 3: and watch people's reactions to the scenes, and I think 618 00:33:56,880 --> 00:34:00,000 Speaker 3: it's there's nothing that beats that kind of feeling, especially 619 00:34:00,040 --> 00:34:02,520 Speaker 3: and you're writing in your studio and yeah, yeah, you're 620 00:34:02,560 --> 00:34:04,280 Speaker 3: sort of you become a bit of a harmer and 621 00:34:04,280 --> 00:34:07,680 Speaker 3: you're very trying to figure out how to do this 622 00:34:07,800 --> 00:34:09,200 Speaker 3: scene and things like that. 623 00:34:10,440 --> 00:34:13,120 Speaker 1: Taylor City wrote eighteen eighty three as a novel like it, 624 00:34:13,960 --> 00:34:16,200 Speaker 1: and you can feel the structure feels different to the 625 00:34:16,239 --> 00:34:22,240 Speaker 1: TV shows, like it feels very it's there's no real heroes. 626 00:34:22,440 --> 00:34:27,520 Speaker 1: There's kind of heroes, but it's very messy. Yeah, and 627 00:34:27,600 --> 00:34:31,520 Speaker 1: it hurts watch as well, Like it's this really very 628 00:34:31,560 --> 00:34:36,319 Speaker 1: different experience. And I think you know that from and 629 00:34:36,360 --> 00:34:37,800 Speaker 1: this is my next question. I don't know if that 630 00:34:38,520 --> 00:34:42,040 Speaker 1: you worked on this, but that the eighteen eighty three 631 00:34:42,120 --> 00:34:46,279 Speaker 1: trailer that feels like you guys, yeah, because that is 632 00:34:46,360 --> 00:34:49,080 Speaker 1: like and even all the clicks and like the sounds 633 00:34:49,120 --> 00:34:52,480 Speaker 1: of like, yeah, it feels like it's you are on 634 00:34:52,520 --> 00:34:57,520 Speaker 1: the Oregon Trail. It's very visceral to feel. Yeah, should 635 00:34:57,520 --> 00:34:57,799 Speaker 1: I say? 636 00:34:57,920 --> 00:34:58,799 Speaker 2: Yeah? Yeah? 637 00:34:58,920 --> 00:35:01,839 Speaker 1: So okay, so with something like doing the trailer for 638 00:35:01,880 --> 00:35:03,320 Speaker 1: that and we know that it came out as a 639 00:35:03,400 --> 00:35:07,040 Speaker 1: musical trailer as well, does that happen at the end, 640 00:35:07,120 --> 00:35:08,200 Speaker 1: like do you do the whole score? 641 00:35:08,239 --> 00:35:10,760 Speaker 2: And then they're like, right, guys, no, no, that happened. 642 00:35:12,200 --> 00:35:15,560 Speaker 3: I think around after, just after we did episode one, 643 00:35:16,200 --> 00:35:18,640 Speaker 3: they said, oh, can you guys have a look at this, 644 00:35:18,920 --> 00:35:23,040 Speaker 3: and so yeah, we decided to do Yeah. So it 645 00:35:23,160 --> 00:35:26,560 Speaker 3: was definitely we had figured out We've done the suit, 646 00:35:27,000 --> 00:35:29,440 Speaker 3: so we'd figured out what the turn is and so 647 00:35:29,520 --> 00:35:32,480 Speaker 3: we knew we knew, okay, this is what it's got 648 00:35:32,520 --> 00:35:34,040 Speaker 3: to go in it and a lot of the suite 649 00:35:34,840 --> 00:35:38,000 Speaker 3: because it's very short, so there's like a section of 650 00:35:38,040 --> 00:35:42,239 Speaker 3: the suite has gone into it. Yeah, it's just it's 651 00:35:42,400 --> 00:35:45,600 Speaker 3: it's arranged slightly differently so it makes more sense. 652 00:35:45,360 --> 00:35:47,400 Speaker 2: With the cut. Ah. 653 00:35:47,200 --> 00:35:51,160 Speaker 1: Yeah, so good, Okay, you have been nominated for an 654 00:35:51,200 --> 00:35:54,399 Speaker 1: Emmy for this, My friend, can you take me through 655 00:35:54,400 --> 00:35:56,560 Speaker 1: the moment you got the call? 656 00:35:56,840 --> 00:36:00,839 Speaker 2: Yeah, so I had well there wasn't a call, oh really? 657 00:36:00,960 --> 00:36:04,799 Speaker 2: So yeah, I had been. I'd been walking my dog. 658 00:36:05,000 --> 00:36:07,360 Speaker 3: Yep, you know, it does a little ship on the 659 00:36:07,400 --> 00:36:09,840 Speaker 3: floor and I have to pick it up, and so 660 00:36:10,040 --> 00:36:13,000 Speaker 3: I was, you know, just doing that, and by the 661 00:36:13,040 --> 00:36:15,440 Speaker 3: time I got back, I was like, oh, I forgot. 662 00:36:15,480 --> 00:36:18,719 Speaker 2: Yeah, they're doing the announcements of the AMI forgot that. Yeah. 663 00:36:18,760 --> 00:36:24,320 Speaker 3: Yeah, So I I went on I tried the website. 664 00:36:24,400 --> 00:36:26,320 Speaker 2: They have this PDF. 665 00:36:25,880 --> 00:36:28,720 Speaker 3: That eat their upload and you download and you scroll 666 00:36:28,840 --> 00:36:30,839 Speaker 3: through to find out if your name's on it or not. 667 00:36:32,360 --> 00:36:35,239 Speaker 2: And it wasn't working. It was completely dead. 668 00:36:35,239 --> 00:36:37,880 Speaker 3: And I was like, oh, okay, well, I guess it's 669 00:36:37,880 --> 00:36:41,440 Speaker 3: stuff I'm not going to find out. And then I 670 00:36:41,440 --> 00:36:45,080 Speaker 3: I go on Twitter and someone's tweeted congratulations to Brian 671 00:36:45,160 --> 00:36:48,680 Speaker 3: Tyler bretton Vivian for the Emmy norm for. 672 00:36:48,719 --> 00:36:50,439 Speaker 2: Eight and eight three. So that's how I found out. 673 00:36:52,880 --> 00:36:55,440 Speaker 3: I mean people think that there's some sort of fancy, 674 00:36:55,600 --> 00:36:58,560 Speaker 3: like cool saying yeah, you got it sort of thing, 675 00:36:58,719 --> 00:37:01,839 Speaker 3: but no, I just found out through someone else. 676 00:37:01,920 --> 00:37:04,200 Speaker 1: Oh I love I love that you were picking up 677 00:37:04,239 --> 00:37:06,400 Speaker 1: your dog's pood and then you were like, ah, the 678 00:37:06,400 --> 00:37:09,400 Speaker 1: website's not working. Yeah, yeah, I'm not going to worry 679 00:37:09,440 --> 00:37:10,800 Speaker 1: about it. 680 00:37:10,800 --> 00:37:12,239 Speaker 2: It was almost as good as picking up. 681 00:37:14,760 --> 00:37:17,000 Speaker 1: So good and Emmy's as soon, isn't it? 682 00:37:17,000 --> 00:37:18,839 Speaker 2: When do they do Emys so well? 683 00:37:18,880 --> 00:37:20,960 Speaker 3: This one's different because they have the one with all 684 00:37:21,000 --> 00:37:23,400 Speaker 3: the actors and this is the sound. 685 00:37:23,760 --> 00:37:25,160 Speaker 1: Oh is it a whole different thing. 686 00:37:25,360 --> 00:37:29,399 Speaker 3: Yeah, so this is on Sunday the fourth. Okay, yeah, 687 00:37:29,440 --> 00:37:30,359 Speaker 3: that's when we're doing it. 688 00:37:31,200 --> 00:37:33,160 Speaker 1: I'll cross my fingers and toes for you. 689 00:37:33,239 --> 00:37:36,799 Speaker 3: Honestly, thank you. Honestly, it's just amazing to be nominated, 690 00:37:36,960 --> 00:37:39,960 Speaker 3: and you know it was. It was a lot of 691 00:37:39,960 --> 00:37:44,160 Speaker 3: work that we put into that show and to have 692 00:37:44,200 --> 00:37:48,040 Speaker 3: it be you know, nominated, and to have people you know, 693 00:37:48,160 --> 00:37:50,640 Speaker 3: like yourself responding so well to it just means the 694 00:37:50,680 --> 00:37:52,000 Speaker 3: wild It's just lovely. 695 00:37:52,200 --> 00:37:56,480 Speaker 1: I don't I don't believe, like, having studied acting, scriptwriting, 696 00:37:56,760 --> 00:37:59,400 Speaker 1: I'm an author by trade, I do not believe you 697 00:37:59,440 --> 00:38:04,400 Speaker 1: could have a successful TV show or movie without a 698 00:38:04,480 --> 00:38:07,120 Speaker 1: ripper score. I just don't think. I think it would 699 00:38:07,160 --> 00:38:08,439 Speaker 1: be missing an integral ingredient. 700 00:38:08,560 --> 00:38:11,400 Speaker 3: Yeah, when sometimes you have terrible movies with an amazing score. 701 00:38:11,640 --> 00:38:14,440 Speaker 1: Yeah, yes, yes, you're right. 702 00:38:14,560 --> 00:38:19,160 Speaker 2: So it's it's yeah, it's interesting, like, yeah. 703 00:38:18,680 --> 00:38:21,120 Speaker 1: Oh my goodness, thank you so much for sharing so 704 00:38:21,280 --> 00:38:23,880 Speaker 1: much of yourself today. I always ask this of the 705 00:38:23,920 --> 00:38:26,400 Speaker 1: creative people at the end, like if someone's listening to 706 00:38:26,440 --> 00:38:28,440 Speaker 1: this and they're like, that's what I want to do, 707 00:38:28,640 --> 00:38:31,959 Speaker 1: Like how do I? And obviously like, like we've touched 708 00:38:31,960 --> 00:38:34,520 Speaker 1: on LA is amazing. It's also a beast. Yeah, it's 709 00:38:34,560 --> 00:38:36,319 Speaker 1: not like you can just everyone's like, yeah, you go 710 00:38:36,360 --> 00:38:38,480 Speaker 1: over with twenty bucks in your back pocket and you 711 00:38:38,560 --> 00:38:42,520 Speaker 1: make it. It's a long slog. And I guess for 712 00:38:42,640 --> 00:38:45,719 Speaker 1: anyone that might want to write music in this kind 713 00:38:45,719 --> 00:38:48,279 Speaker 1: of field, do you have any advice? Is it like 714 00:38:48,640 --> 00:38:53,120 Speaker 1: go train? Is it like try to become someone's assistant? 715 00:38:53,400 --> 00:38:55,040 Speaker 1: Like what's it? Yeah? 716 00:38:55,120 --> 00:38:58,520 Speaker 3: Honestly, like I because when I was just starting out, 717 00:38:58,560 --> 00:39:01,279 Speaker 3: I was looking at interviews of composers and when I 718 00:39:01,320 --> 00:39:05,319 Speaker 3: realized is that there was no real, definitive way is 719 00:39:05,360 --> 00:39:09,799 Speaker 3: to get into it. And that might be like frustrating 720 00:39:09,840 --> 00:39:11,719 Speaker 3: and disconcerting if you wanted to be in it, but 721 00:39:11,920 --> 00:39:15,200 Speaker 3: I think actually there's power in that because you can 722 00:39:15,280 --> 00:39:17,960 Speaker 3: be going your own way and find some sort of 723 00:39:18,560 --> 00:39:21,760 Speaker 3: you know, success from it and find some way into 724 00:39:21,920 --> 00:39:26,920 Speaker 3: the industry. I think I personally was an assistant. I 725 00:39:27,000 --> 00:39:31,799 Speaker 3: personally did study at USC but I don't think it's necessary. 726 00:39:31,880 --> 00:39:36,040 Speaker 3: I think that there's many ways of going about it. 727 00:39:36,440 --> 00:39:40,560 Speaker 3: I will say that for what really helped me sort 728 00:39:40,600 --> 00:39:45,080 Speaker 3: of to figure out my sound was two do a 729 00:39:45,120 --> 00:39:49,600 Speaker 3: lot more recording, a lot more audio recording, and because 730 00:39:49,640 --> 00:39:53,240 Speaker 3: you can rely on MIDI on like just sounds inside 731 00:39:53,280 --> 00:39:56,319 Speaker 3: the computer and they sound amazing and a lot of 732 00:39:56,320 --> 00:40:01,160 Speaker 3: them end up in big you know, TVs and TV's 733 00:40:01,440 --> 00:40:07,760 Speaker 3: big TV shows and filmed. But I think that most 734 00:40:07,800 --> 00:40:09,960 Speaker 3: of my sound and the success I've had with my 735 00:40:10,120 --> 00:40:16,000 Speaker 3: sound has been through recording, like instruments, manipulating audio. I 736 00:40:16,080 --> 00:40:20,000 Speaker 3: think that's where you start to little toy. Yeah, yeah, 737 00:40:20,320 --> 00:40:24,560 Speaker 3: I think like experimenting. I think that's really where I 738 00:40:24,600 --> 00:40:28,280 Speaker 3: get the most enjoyment out of the composing process, because 739 00:40:29,080 --> 00:40:32,040 Speaker 3: suddenly you're not you're not doing the same stuff that 740 00:40:32,600 --> 00:40:35,760 Speaker 3: you can see other people doing. You're actually exploring finding 741 00:40:35,800 --> 00:40:36,480 Speaker 3: different things. 742 00:40:36,880 --> 00:40:39,480 Speaker 1: And you know how you said, like there's like amandolin, 743 00:40:39,840 --> 00:40:42,399 Speaker 1: there's a fiddle, there's you know, all these different kinds 744 00:40:42,400 --> 00:40:44,520 Speaker 1: of instruments as opposed to maybe what we're used to 745 00:40:44,560 --> 00:40:49,279 Speaker 1: hearing in something really contemporary. Is it you playing like 746 00:40:49,440 --> 00:40:51,840 Speaker 1: are you getting people in or are you guys actually 747 00:40:51,840 --> 00:40:53,919 Speaker 1: sitting there going let's have a tinker it's a bit. 748 00:40:53,840 --> 00:40:55,360 Speaker 2: Of it's a lot of it is. 749 00:40:55,880 --> 00:40:59,800 Speaker 1: Is us how cool? Yeah, I'm chilling out the studio. 750 00:40:59,480 --> 00:41:00,880 Speaker 2: Like yeah, play yeah. 751 00:41:00,920 --> 00:41:04,480 Speaker 3: And so I mean, I'm a guitarist, so I can 752 00:41:04,560 --> 00:41:08,200 Speaker 3: bullshit it on a Piseki or Amanda men and you can. 753 00:41:08,920 --> 00:41:10,719 Speaker 3: You're not doing it live, so you can record and 754 00:41:10,800 --> 00:41:14,120 Speaker 3: chop bits and you know, and some of it we 755 00:41:14,200 --> 00:41:18,520 Speaker 3: do outsource, Like a lot of the fiddle is veto 756 00:41:18,719 --> 00:41:21,960 Speaker 3: this guy called Vito Gatilla. He lives in He was 757 00:41:22,000 --> 00:41:24,200 Speaker 3: in La and he but he lives in I think 758 00:41:24,239 --> 00:41:28,600 Speaker 3: North Carolina, now, oh wow. And so we just ask 759 00:41:28,680 --> 00:41:30,879 Speaker 3: him for stuff and he records himself and he sends 760 00:41:30,880 --> 00:41:33,480 Speaker 3: it over and it's it's so cool. It's the best 761 00:41:33,480 --> 00:41:35,960 Speaker 3: thing because we don't need to think about it. We 762 00:41:36,040 --> 00:41:37,879 Speaker 3: just trust him and he can just send us some 763 00:41:37,960 --> 00:41:40,840 Speaker 3: amazing stuff and we can lay it into a queue 764 00:41:40,880 --> 00:41:45,400 Speaker 3: and it makes it just sound that bit more authentic 765 00:41:45,440 --> 00:41:45,960 Speaker 3: and different. 766 00:41:47,920 --> 00:41:50,480 Speaker 1: I can talk to you all day. You are wonderful. 767 00:41:50,480 --> 00:41:51,360 Speaker 1: Good luck with the Emmys. 768 00:41:52,360 --> 00:41:53,240 Speaker 2: Yeah, I think he's gross. 769 00:41:55,400 --> 00:42:01,040 Speaker 1: That's a wrap on another episode of Fearlessly Failing. As always, 770 00:42:01,160 --> 00:42:04,560 Speaker 1: thank you to our guests, and let's continue the conversation 771 00:42:04,719 --> 00:42:10,480 Speaker 1: on Instagram. I'm at Yamo Lollaberry. This potty my word 772 00:42:10,520 --> 00:42:15,279 Speaker 1: for podcast is available on all streaming platforms. I'd love 773 00:42:15,280 --> 00:42:18,319 Speaker 1: it if you could subscribe, rape and comment, and of 774 00:42:18,400 --> 00:42:19,960 Speaker 1: course spread the love.