TB-I simplified my schedule so there are no conflicts. While many composers are comfortable handling several projects at once, I prefer to give my undivided attention to each film and director. I am currently working exclusively with Rob Zombie on ‘HALLOWEEN.’
TB-It is much too early to tell what the music for ‘Watchmen’ will be and what musical devices it will employ. It is my intention (like HALLOWEEN) to create a complete ‘temp score’ of original music before and during filming. This way if there is any specific “orientation” it is in reference to the body of music created for the film itself. I have never embraced ”temp scores” but I understand their necessity in the process of modern filmmaking. I would like to see film-scoring return to the process of old when composers wrote the score in advance to filming, and afterwards refined the music if necessary after principal photography. It sounds idealistic, but I think it is the only way to create a reasonably “original” body of music for a film.
Plusieurs super-héros combattent le crime dans une Amérique de fin du monde. Vulnérables, humains, imparfaits, ils ont autant de qualités que de défauts et font pour la plupart ressortir leur côté sombre, mélange de cruauté et d'égoïsme.
The ambient sound design aspect of ‘300’ is a consistent component in my scores. In discussing the films’ various locations, I was excited by the opportunity to create textural elements and soundscapes unlike anything I have heard in an epic film. The majority of this material is handcrafted in my studio. It was Zack’s idea to bring electric guitars into the mix. He is well aware of my history as a recording artist and touring musician. I am a guitarist by trade, so this was not a surprise to me. I did feel that in the scope of the “rock” element of the score would need to be connected to the more traditional aspects of the music. After work-shopping the many “rock’ pieces with a few friends who play in some of today’s biggest heavy bands, I then experimented with “detuning” the guitars and affecting them so that they became as crude as the on-screen weaponry. I also wanted to create a “rock’ sound without the use of a traditional drum kit, which I think worked out pretty well. Ultimately, the music to ‘300’ is precisely what Zack and I worked to create in a 2 1/2 year span.