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You don’t really want to hear a sound you have in your 160-million-dollar movie in somebody else’s movie in the theater next door so everything we use is made from scratch. Part of why I like Cubase is that I don’t sound like everybody else.
I can tell straight away when somebody brings in a Logic track - I know exactly what it was recorded on. And what I mean by that is that what you put into Cubase is what you get out. Other than the orchestra and soloist Johnny Ma, even most of the synths were kept virtual all the way through the mix.Īnother thing is that Cubase sounds really good. We also tried to keep everything virtual on this movie up until the very end.
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It’s always an extreme thing, and although I honestly can’t recall how many audio tracks were being used, remember that everything we do is in 5.1 so that quickly adds tracks, plus there are 300–400 MIDI tracks going at the same time. How does Cubase support you during the composing process?īy not crashing - but seriously, I was amazed by how much I was throwing at Cubase and it never winced, never seized up, never faltered. You could say with Inception Chris made a movie about time and for me that was the more interesting aspect, it was more about time than about dreams and among it all, this profound yet tragic love story with many existential questions.Īnd that’s why you have to be able to rely 100% on your DAW. Inception was a complicated movie, but funny enough, on the paper it’s a very simple movie because Chris wrote the story as well, and he simply writes beautifully so it was actually very manageable for me to read but I could also tell that as soon as you would put it up on a screen people would get confused and so the main job the music had was to somehow give you an emotional anchor that went all the way through the film and if you just trust in the music, it’d get you through the movie - even if you’re a little confused here or there. And Chris is particularly good at just listening to ideas - well, sometimes he steers me a little bit - plus I’m really good at analyzing movies, the scripts and the story telling, pointing out where viewers might have problems understanding a bit and where the music can help making it clearer. You see a film composer’s job isn’t to do what the film director tells you to do, but to do something that the director doesn’t really expect - you’re supposed to come up with your own ideas. Chris is really good at putting something in front of me and then letting me come back with my ideas. We would talk about the feel of the movie. A lot of these conversations took place on the beach, with our kids playing around us and both of us being dads.
So, how did the music to Inception come about exactly?Ĭhris gave me the script just after we finished The Dark Knight, now that’s quite a while back, and we would just see each other, we would phone each other, just talk about things and spend a long time figuring out, not the notes or even the style of music and so on, but what do we want to do, what is this movie about, what’s the subtext, how big a part does the music play in the movie.
So I thought that was pretty cool for him to call me up personally to tell me that that’s not what he wanted and asking me to come up with something else. He told me that he was working on the Sherlock Holmes movie and that every time he went to the cutting room the editors had put The Dark Knight all over the movie and that’s not what he wanted.
For instance, after The Dark Knight Guy Richie called me who I had never spoken to in my life. If the director takes an interest, it really just goes from there. It’s always the director that phones me, and never the producer or an agent. So what Chris and the other directors do is phone me up, inviting me to go on an adventure with them. I mean when I first began to work with Chris on Batman Begins he hadn’t done a “blockbuster” type movie before, and he just thought what I do is interesting. I have been thinking about this recently myself. Can you tell us how you get these high-profile jobs? You have a tremendous repertoire of music which you’ve composed for numerous box office hits, just like one of your most recent movies, Inception.
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