I'll just start laying out the melody exactly where I want it to fall. And then I'll go back and fill it out. Whereas, in other pieces I'm really just going a couple bars at a time.
quote by Danny Elfman
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I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.
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I'll look back and I'd be better to answer that in about three months from now. Or when the movie comes out and I see it. I don't even know what it is yet. I've still been in the middle of it.
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I'm looking for a feel and I have to find what that feel is before I can move on from there. I'm not necessarily catching stuff in such a simple way - I don't need to. So, I'm going for something else.
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It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.
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Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.
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The first thing I do is lay out that melody and figure out how it has to hold here and then finish to land here, because you know in advance you're going to want the melody to catch four things in the action.
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That still has to be there. And so, it's kind of an interesting question you brought up. Because, on the one hand, yeah, it'd be lovely. I certainly don't see that happening. In fact, I see the opposite happening.
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There's kind of a cool feel that happens every now and then. I guess that feel is the thing that makes the score its own score. But, I don't know exactly what that is. So, it's hard for me to answer that question.
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Doing Tim's film is always going to be the most pleasure. Let me just put it that way. So, without drawing favorites one way or the other, getting back with him and doing Mars Attacks! was certainly a special treat.
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