GM: I wonder how many directors have the facility to talk about music in the same way you can.
DE: It’s worse when they have a lot of musical ability, because they’re describing things in a musical way but it still isn’t what they’re expecting. Warren Beatty was like that. He’s a musician. He’s a better musician than I am. He can sit and play the piano. I can’t sit and play the piano to save my life. It doesn’t help. It’s all visceral, it’s all feel. You just have to get to the gut or not.
GM: And “Batman” was the most difficult?
DE: “Batman” was by far the most difficult. I had never done a big film. There was a lot of pressure to bring in another composer. There were actually two different camps wrestling me out of place. One, the initial idea of Jon Peters, was to have Michael Jackson, Prince and George Michael score the film. Prince would do the Joker theme; Michael would do the Batman theme; George Michael would do the love theme. That didn’t really leave much room for me to do anything. Then there was another sensible voice from Warner Bros. to bring in a composer like a John Williams or somebody like that who could do a big film. There was one side wanting it to be like a pop thing, totally different than anybody was expecting. And then the Michael Jackson and George Michael thing kind of fell away and they were just left with Prince. They wanted me to co-write the score with Prince, and I didn’t want to do that.
GM: Since the experience of assembling the “Music Box,” have you gotten better about archiving your own material?
DE: Since the last two months, I’m searching actively now for about 20 other scores. I’m trying to get film mixes for early stuff. I’m talking with older music editors I’ve worked with, looking for old hard drives, and I’m trying to find all my printed music. I didn’t save a single piece of manuscript and so we did find a lot, certainly not everything.
Penting, penting siapa tahu bakal ada Music for a Darkened Theatre vol. 3?? Baca lengkapnya di sini.
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