How does working with Sam Raimi compare to working with Tim Burton?They're very different. Sam is very easygoing, when it comes to the studio and the music. He just seems really to fit into it and enjoy it. Tim doesn't enjoy it. He's much more intense during the process, figuring out what his movie is. Sometimes he has to go on a journey himself with music, and discover where the centre of it is. It's a little more of a game with Sam - like we're playing around and goofing. Not that he doesn't take it seriously, but it can feel sometimes more like we're having a good time and goofing off. Tim... (pauses) It's not that we never goof off. Usually by the time the score is written and he's in the studio, he actually can get really silly and funny. But during the actual process, he's usually pretty intense.
How did Oz differ from your previous experiences with Sam?It actually took me back to Darkman, in a sense. This is the easiest time I've had with Sam in a long while. The score went really quick, and it was just like right on the nose from the first beat. It was like I'd nailed it for him from the first presentation. I don't know why this one was like that, it's rare. I wish they were all like that! It was a reminder that even a 115-minute score can be relatively easy, [whereas] sometimes a 25-minute score can be excruciatingly difficult. It's a strange business, but every now and then one just comes down really easily. I remember having that with Tim on Mars Attacks!. Just for whatever reason, BAM!, that one shot out of the gate and I heard the main titles as soon as I saw the rough cut of the opening sequence. But I've done like 80 or 85 films, and we're talking half a dozen like that. Most of them evolve from suffering!Baca lengkapnya di sini.