# Cool batman begins interview



## choc0thrax (Jun 13, 2005)

http://movies.yahoo.com/mv/mf/frame?mfurl=lid=wmv-56-p.1364981-149233,wmv-100-p.1364982-149233,wmv-300-p.1364983-149233,wmv-700-p.1364984-149233&p=movies&c=p3&.skin=movies&f=76362974er (http://movies.yahoo.com/mv/mf/frame?mfu ... 76362974er)

Interview with both Zimmer and Howard. You have to watch about 9 minutes of crap before it comes on though...still it's worth it.


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## choc0thrax (Jun 13, 2005)

I don't seem to be able to edit in here so anyways you should watch this thing in IE, it appears to crash my firefox. Also you don't actually have to wait for it to come on you can skip through the first 9 minutes.


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## choc0thrax (Jun 14, 2005)

I see the link doesn't work anymore, I guess thats why noone is responding about the wicked interview that was temporarily there!


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## Niah (Jun 14, 2005)

Yes.


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## Evan Gamble (Jun 14, 2005)

was this the AMC thing, i saw that


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## choc0thrax (Jun 14, 2005)

It was 5 guys sitting around a table, two of them being Zimmer and Howard. They talked about many things for like 13 or so minutes.


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## Evan Gamble (Jun 14, 2005)

yeah and howard quickly retorted "underpaid!" when asked are composers paid too much, made me giggle. :lol:


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## choc0thrax (Jun 14, 2005)

I thought that was weird. Overpaid? I always felt they deserve more for all they do for a film.


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## Alex W (Aug 30, 2005)

What a shithouse interview. 3 bitter, rude dickheads asking stupid questions about stupid shit. At times they were clearly just trying to stab these guys and have a go at them.

A good interviewer just asks questions, and doesn't crave the next millisecond of silence so that they can jump in with their own worthless opinion on things.

Actively Listening to the answers, so that they can probe them further on points raised and ask further questions relating to the topic.

Although this was probably the worst, It sadly seems that most of the interviews I've seen with composers are exactly like this.

Bloody pathetic.


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## Niah (Aug 30, 2005)

Sometimes I feel that nobody understands what a film/media composer really is or does.
I felt like this interview was very much like some social situations that had happened to me and probably most of us when someone asks if you do music and want kind. Then it's just downhill from there with dumb*ss questions and you trying to capture some of their attention.


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## Ed (Aug 30, 2005)

I wannanananana see..

:( :cry:


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## Scott Cairns (Aug 30, 2005)

Niah said:


> Sometimes I feel that nobody understands what a film/media composer really is or does.



Including many composers themselves. I dont want to turn this into another for/against Hans Zimmer debate, but honestly, he must do something right, to be hired and re-hired over and again by top directors. He just might not satisfy the musical "academics" whatever the hell they are.

It reminds me of bit-part actors sitting around canning William Hurt or something.. I actually saw this once in the filming of a car commercial.. the actors? They were extras at a bus stop. Sheesh.


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## Alex W (Aug 30, 2005)

Niah said:


> Sometimes I feel that nobody understands what a film/media composer really is or does.
> I felt like this interview was very much like some social situations that had happened to me and probably most of us when someone asks if you do music and want kind. Then it's just downhill from there with dumb*ss questions and you trying to capture some of their attention.



Yeah Niah, I think you're very right there. The life of a composer is generally very misunderstood. I can relate to what you're saying about awkward social situations too.

This is bound to turn into a rant, but what the hell!

I've had a variety of stunned mullet responses when I've told people I'm a full time composer. The reason is usually a combination of them not really giving a shit about anything apart from themselves, generally being unable to fully grasp the concept, and feeling resentment that I'm lucky enough to be doing something I enjoy for a living while they shovel shit. Basically, in a nutshell, it's because they can't relate (and don't want to). 

It's understandable sure, but I find it especially offensive after you've just stood there and listened to them prattle on about their current life story for the past 20 minutes. And the thing is, and I'm sure you're the same - I'm actually actively listening to what their saying. Not just glancing left n right, shifting uncomfortably and frustratingly grunting "yeah... right... cool... yeah... right..." You can tell when someone's actually listening to what you're saying, and when someone may as well just be saying "yeah whatever... I don't really care..."

You do get the odd mature person here and there however, who will actually show interest and do their best to understand exactly what it is you do (which is always nice), but as you'll probably agree, the ratio of these people to retards and attention whores is a bit out of whack.

I'm lucky working for Actiongirls 'cos my best ice breaker is "yeah, I do music for porn." Even if I'm telling a beer drinkin' council worker in a ripped flannelette shirt up at the local pub after work on a monday arvo, the standard response usually involves "wah wah chika bow" impersonations on the air guitar. Free beers often ensue, but if not then always hilarity.

Of course I don't bother telling them that Actiongirls isn't exactly your "standard porn", and that the music I write when played on it's own sounds nothing like your standard porn music. All they want to hear is the word "porn." I guess it's something all blokes can relate to. That is, assuming they have a set of testicles.


END OF RANT.

HAH.


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## choc0thrax (Aug 30, 2005)

Don't you just love how my oversized link has screwed up the page so you always have to scroll to read sentences.


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## Niah (Aug 30, 2005)

Scott Cairns said:


> Niah said:
> 
> 
> > Sometimes I feel that nobody understands what a film/media composer really is or does.
> ...



Yeah, the thing is that while most purists and academics are wasting their time and energy in bashing zimmer for his lack of whatever, he's doing a zillion scores and living a very succesful composer live that most have wished for themselfs.
What most people forget is that what determines music to be good or bad in this case, is the director and the audience. What's good for your teacher and composer friends might not be good to the world. So that can be hard to deal with it and that's why alot of people get pissed with zimmer.
Zimmer just happened to be at the right time when the tides of film music were turning the other way, and when something like that occours, what's different and new will be quickly picked up and setting new standards.
His music speaks to a broader universe of moviegoers who are part of a multicultural society embraced by technology. Zimmer's music posesses all of that so it's no suprised that's a language understood by so many.

The thing is that success has nothing to do with you, you just do your thang the best you can and hope that you're in tune with the rest of the world at the current time.


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## choc0thrax (Aug 30, 2005)

I think the schooled academics hear music and judge it according to how properly done it was and stuff where as I listen and judge it on it's emotional and kick ass factor, just like 99% of the audience.


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## Niah (Aug 30, 2005)

choc0thrax said:


> I think the schooled academics hear music and judge it according to how properly done it was and stuff where as I listen and judge it on it's emotional and kick ass factor, just like 99% of the audience.



Damn right :twisted:


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## Herman Witkam (Aug 30, 2005)

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## José Herring (Aug 30, 2005)

The mystery of the Zimmer phenomenon lies in what Folmann is trying to do. Is he a great composer? Not even he thinks he's that good. Does the shit sound fantastic. Yes.

I think that many people that are for or against Zimmer really miss the point. It's about product. It's about quality product. The final recorded product at the end is what counts. I personally think that Goldsmith was and JW is great composers. But, there isn't one recording from either of them that doesn't have some basic recording problems( not including Basic Instinct) They never really took into account that the orchestra is being recorded. You need to spend time mixing, you need to spend time with compression and EQ, ect.

I was at a Goldsmith session and they where literally recording the orchestra straight to a portable HD system and sending that directly to the dubbing stage for the final mix into the film! No mixing at all except what was being done on the fly at the session. 

Records need to be mixed and mastered. Even for film

Jose


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## Scott Cairns (Aug 30, 2005)

josejherring said:


> The mistery the Zimmer phenomenon lies in what Folmann is trying to do.



Whats Folmann trying to do? Did I miss something?


Sorry to have started another Hans Zimmer argument... :roll: 8)


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## Scott Cairns (Aug 30, 2005)

choc0thrax said:


> Don't you just love how my oversized link has screwed up the page so you always have to scroll to read sentences.


 Not on my screen. Is the text not wrapping or do you have a 14" monitor? :lol:


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## choc0thrax (Aug 30, 2005)

19' LCD here...


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## Scott Cairns (Aug 30, 2005)

choc0thrax said:


> 19' LCD here...



Are you running it at 640 x 480? (ooh, Im on fire today.) 8)


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## choc0thrax (Aug 30, 2005)

I've always run on 1280x1024...


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## Niah (Aug 30, 2005)

choc0thrax said:


> I've always run on 1280x1024...



Me too and I see all the posts without scrolling.
I remembered that the first you posted it I had to scroll, but now...nope, I see everything.


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## Alex W (Aug 30, 2005)

Scott Cairns said:


> Hi Scott,
> 
> 
> 
> ...



I really don't think Scott Rogers was referring to Hans when making the "90%" statement. Hans has been at the very top of the industry for quite a while, along with only a handful of other composers who can make the same claim.

In terms of output, the films he works on represent a very small portion of everything that comes out of hollywood, and I got the impression that Scott Rogers was referring to the multitudes of other crap movies with trashy soundtracks coming out. (Am I right Scott?)

I've been a bit let down by soundtracks before - I was hoping to hear the good ol' terminator theme in T3, but it never came. Although I'll tell ya what, I must be lucky or something because I haven't really struck any outstandingly, memorably bad soundtracks lately. Certainly none that are bad enough to make me wanna say "god damn, that soundtrack really sucked balls."


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## choc0thrax (Aug 30, 2005)

I was so upset when I found out the Terminator theme wasn't going to be in T3. I kinda felt like what's the point in even making the movie then... I remember the first time I saw T2 I had to try not to cry from the ending especially when the theme kicks in.


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## Niah (Aug 30, 2005)

Well T1 and T2 are both from the same director and they actually make sense. T3 however, is a fluke and a complete departure from the original movies it would be a sin to use the original theme IMO. :lol:


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## José Herring (Aug 30, 2005)

Scott Cairns said:


> josejherring said:
> 
> 
> > The mistery the Zimmer phenomenon lies in what Folmann is trying to do.
> ...



Folmann is doing what we all need to be doing. He's not just being a good composer he's working on his engineering chops. Looking for EQ settings and compression advice. Doing research on what it takes to make those recordings shine, shine, shine.

It's something that Hans did too. And the results are obvious. Hans said that he realized way back when he was just a keyboard player that if he didn't learn about engineering that his music would always be at the mercy of engineers.

Most engineers know dick about music. They don't know what violins should sound like. I mean vaguely they do but not really. Most those guys don't even attend a symphony concert or anything. And the ones that do mostly don't have any musical training or background. Then we're suppose to trust them implicity with our music. I don't think so. They don't really know much about music. They know gear. So it's up to us to tell them what we want and mostly these days how to get it.

Plus you'll never even get to the point of hiring engineers in your career if you don't make those samples sound good. So it's up to us to learn the skill of recording and mixing and mastering to make our final products sound good.

Jose


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## Scott Cairns (Aug 30, 2005)

I hear ya. Thats a constant learning curve with me too, along with orchestration lessons, Im addressing both sides.

BTW, there's an excllent book; "Mixing with your Mind" Ill post it in Folmanns thread but thought id mention it here too.


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## Alex W (Aug 30, 2005)

choc0thrax said:


> I was so upset when I found out the Terminator theme wasn't going to be in T3. I kinda felt like what's the point in even making the movie then... I remember the first time I saw T2 I had to try not to cry from the ending especially when the theme kicks in.



Oh hell yeah, I was pretty bummed eh. 

You heard about it before the you saw the movie?

I just went n saw it, the thought that it wouldn't be in there didn't even cross my mind... I just thought... it has to be in there somewhere, it just.... goes without saying... :!:

It'd be like someone else scoring Starwars and not using JW's themes.

I know for a fact that the new Superman will have the theme in it, I was fortunate enough to attend a Q&A the other week with composer / editor John Ottman, who's scoring it. That was a very interesting night actually, he is a pretty cool guy I thought - bloody multi-talented talented too - he scored The Usual Suspects, and also EDITED the damn thing, same goes for many other movies he scored. That's just amazing.

That reminds me, towards the end of the night someone asked him a question about film scores becoming more boring / sound-design oriented these days, and during his enthusiastic reply ol' J.O went on a bit of a rant. He brought up Klaus Badelt's score for Pirates of the Carribean, and then it was blah blah, you could have used those action cues in Backdraft, blah this blah that... and I just thought... you know... WHY?!?! I mean... here's a guy, who's a bloody talented and well respected composer, he's scored a whole host of great blockbuster movies such as The Usual Suspects, X-Men 2, who's now working on the new Superman, yet he STILL for some reason or other felt it necessary to take a stab at work by someone else in the industry (who just happened to be from the "Media Ventures crowd").

Regardless of whether or not there's any merit to what he's saying about that score, (and I'm pretty sure most would agree it's not Klaus's best score) it just comes across to me as bitter.

I just don't get it. :shock:


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## Niah (Aug 30, 2005)

I don't get it why people say that sound design in scores is boring. To me is one of the most exciting parts of a score, it builds mood and sets a platform for the next orchestral strike. I read a review about james newton-howard's score the movie the interpreter and it was like "buy if you can stand long minutes of pointless sound design" - just laughable :lol: 
Anyway, I know a bit of Ottman's work and he has done some pretty cool stuff but that statement about Badelt is just lame.
I mean, why even go there? To me that just shows lack of professionalism and disrespect to f924aae6b13c629e.


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## Liam (Sep 6, 2005)

choc0thrax said:


> Don't you just love how my oversized link has screwed up the page so you always have to scroll to read sentences.



LOL!! I was just thinking that before I read you post! :x :lol:


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## Buckles (Sep 7, 2005)

Music is so damn subjective and contextual...especially film music. The pros should understand that, especially Ottman. 

If yur gonna go and criticise someone else's music, especially a contemporary in your industry...you better damn well have a good reason to, otherwise you come off as being just plain nasty and elitist. And even if you have a good reason...why even?

Noone can really say that a score really sucks, unless it had obvious production issues, or was obviously detracting from the visuals. If it works for the director and the audience; it cant be all bad. Badelt's score for POTC did just that...

Its interesting...Im studying my BMus here in ozztrailia, and I recently showed an action cue in a production class. The class liked it because it was engaging and well realised...the lecturer hated it because it was commercial, and didnt push any boundaries. True, it wasnt; but it was also true that it was a track which licenced...

So I suppose, us film composers are always walking a fine line between trying to push boundaries, as well as putting food on the table?

-s


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## Evan Gamble (Sep 7, 2005)

John Ottman kicks Badelts ass though...I allow him to insult him :wink:


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## choc0thrax (Sep 7, 2005)

I don't think very highly of either of them.


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## Evan Gamble (Sep 7, 2005)

choc0thrax said:


> I don't think very highly of either of them.



i didnt think that much of ottman either till the Fantastic 4 score...that was a good one


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## Niah (Sep 7, 2005)

The cellular is also good.


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## Ed (Sep 7, 2005)

Evan Gamble said:


> John Ottman kicks Badelts ass though...I allow him to insult him :wink:



Badelt. 1. Is really good at writing to picture, that fits the film really well 2. Actually still writes fun music, the POTC may not be musical brillance, but every time I watch the film I still enjoy the music. 

I would have liked to see what Powell would have done on POTC, having loved his Evolution score he seems really good at the quirky comic stuff, as well as big sounding Media ventures sound,

*shrugs*

Ed


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## Ed (Sep 7, 2005)

choc0thrax said:


> I remember the first time I saw T2 I had to try not to cry from the ending especially when the theme kicks in.


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## Ed (Sep 7, 2005)

Scott Cairns said:


> (ooh, Im on fire today.) 8)


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## Evan Gamble (Sep 7, 2005)

Ed said:


> Evan Gamble said:
> 
> 
> > John Ottman kicks Badelts ass though...I allow him to insult him :wink:
> ...



yeah PotC is a guilty pleasure of mine :oops: 

I think John Powell is going to do some great things, he needs a film that he can really be original with


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## Niah (Sep 7, 2005)

I agree, John Powell is one of the most exciting film composers of today, and incredibly innovative.
But when I say "exciting" is not like he turns me on or anything. :oops:


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## choc0thrax (Sep 7, 2005)

I thought Ottman's score for Fantastic 4 was crappy. I prefer POTC score to anything by Ottman I think. Barbossa Is Hungryyy ahhhhhhhh.


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## Maya (Sep 8, 2005)

> Most engineers know dick about music. They don't know what violins should sound like. I mean vaguely they do but not really. Most those guys don't even attend a symphony concert or anything. And the ones that do mostly don't have any musical training or background. Then we're suppose to trust them implicity with our music. I don't think so. They don't really know much about music. They know gear. So it's up to us to tell them what we want and mostly these days how to get it.
> 
> Plus you'll never even get to the point of hiring engineers in your career if you don't make those samples sound good. So it's up to us to learn the skill of recording and mixing and mastering to make our final products sound good.
> 
> Jose



Are you telling us, that engineers in LA normally don?t have a clue about the music they use to mix and that this job title is not connected to a certain level of musical education? This sounds terrible to me, are you sure that you didnt just work with the wrong people? Because here and in most european countries you can only call yourself a certified audio engineer with a certain university degree in audio engineering. And this includes at least two years of composition, music theory lessons and at least 4 years of practising two classical instruments and and and beside all the technical stuff. 

???


Maya


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## Ed (Sep 8, 2005)

Maya said:


> And this includes at least two years of composition, music theory lessons and at least 4 years of practising two classical instruments and and and beside all the technical stuff.



i dont thinks thats totally true, I have a friend studying to do this and as far as I know he doesnt have to learn any classical instruments.

Ed


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## Alex W (Sep 8, 2005)

Maya said:


> > Most engineers know dick about music. They don't know what violins should sound like. I mean vaguely they do but not really. Most those guys don't even attend a symphony concert or anything. And the ones that do mostly don't have any musical training or background. Then we're suppose to trust them implicity with our music. I don't think so. They don't really know much about music. They know gear. So it's up to us to tell them what we want and mostly these days how to get it.
> >
> > Plus you'll never even get to the point of hiring engineers in your career if you don't make those samples sound good. So it's up to us to learn the skill of recording and mixing and mastering to make our final products sound good.
> >
> ...



Good points Maya - I think Jose must have had a bad experience with an engineer  (Jose?)

Anyway, the underlying point is that it's better to be able to completely produce your own material - from the initial concept through to the end product, cutting out as many "middle men" along the way as possible.

It's like how Seth Macfarlane, the creator of Family Guy does most of the voice acting for the show in addition to writing it. Would it be as funny if he was trying to translate his ideas to a voice actor? Probably not.

BTW, Family Guy's awesome.


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## choc0thrax (Sep 8, 2005)

Family guy certainly is awesome and so is the music by those two composers who's names escape me.


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## Thonex (Sep 8, 2005)

Here in LA you can call yourself and audio engineer without a degree. Many of the greats have never gone to "school" but worked their way up in studios with other great engineers.

Now, having said that, there are a crap load of engineers who indeed don't know how an orchestra should sound.... but they are great at recording vocals or other things... 

This town is so diverse in it's audio needs that there are niche markets for almost anything.

So, you can find great orchestral engineers, mixers, recordists, whatnot... but you'll have to wade through an ocean of "wannabes" who have little to no experiance.

My opinion.

T


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## gamalataki (Sep 8, 2005)

DELETE


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## Evan Gamble (Sep 8, 2005)

choc0thrax said:


> I thought Ottman's score for Fantastic 4 was crappy. I prefer POTC score to anything by Ottman I think. Barbossa Is Hungryyy ahhhhhhhh.



ah come on..what about that heroic descending trumpet motif? That rocked!


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## Alex W (Sep 8, 2005)

choc0thrax said:


> Family guy certainly is awesome and so is the music by those two composers who's names escape me.



Ron Jones and Walter Murphy


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