Some time goes by and Tim comes with Batman. That was considerably a different goal because it was my first and his first big budget film and we were no longer like kids left on their own who could do whatever they want. Nobody cared what we did for Pee-Wee or Beetlejuice but people who invested money, the Studio, did care about Batman. That was when I really learned what film scoring is actually about, the politics, the psychology, the personalities, the difficulty and that it’s not just fun. This was a long difficult road and really the beginning of what was, I feel, my education for film’s scoring.
That was the beginning of a whole different thing because now I’ve got to see Tim really stressed and I got to feel what real stress was about. It’s hard to believe that it was 20 years ago but I believe that’s when my scoring education began, withBatman. That’s when I thought ‘Maybe I like this job and I want to stick with it, take it a little bit more seriously.’ That triggered two decades now. And let’s skip around a bit.
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