How did you treat the score when adapting the music for the remake of Psycho?Baca lengkapnya di sini.
I didn't really do much of anything. I just tried to not touch it. All I did was make tiny little edits here and there. I didn't want Bernard Herman's ghost walking in the room because he was famously cranky. I just imagined him at the foot of my bed in the middle of the night going, 'You asshole, what did you do to my great score?' I handled the music as if it were like Holy Scripture.
What is your opinion on new programs that composers use, like orchestra programs, versus a full live orchestra?
There are a lot of scores out there that don't use a live orchestra that sound really good. There's nothing that says a score has to have orchestra, but I think if you're going to use orchestra -- a real orchestra sounds better than a sampled orchestra. There's a lot of scores I've done where half of what I've laid down, before going to the orchestra, stays. Really only the strings, brass and woodwinds disappeared. Everything else I've already done myself. I like using my own samples of my own stuff, but I still can't ever top real brass, strings and woodwinds. Even thought the sample libraries are getting better and I think they are suitable, you can't get the nuances out of those instruments yet. Maybe someday they will, but for now I can still hear the difference between a sampled orchestral score. But those work best if the score is not orchestral. I've done scores and pieces where it was almost all samples because there was no money.
