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(upbeat music)
- Gentlemen, welcome, and thank you again for doing this.
The first question I'd like to ask is,
was there a movie you've seen in the last year or so
where you were particularly impressed with the score?
Terence, why don't you go first?
- It's hard for me to answer that question.
I don't get a chance to see a lot of movies,
obviously, you know, between my touring schedule,
teaching, and a lot of things that I've been doing.
It's hard, but I love all of these guys' work though.
I mean when I listen to some of the stuff he's done
with so many brass players on a scene,
I would have never thought of that,
and the stuff that he did in the film,
some of the rhythmic stuff
that you did was really killing it.
I would have never thought of that.
That's the things that I love about being in this business.
The thing that I love about this kind of situation is
that we get a chance to share the ideas.
Because we all work in a vacuum,
we're all sitting in a room by ourselves for the most part.
- Every time we do the composer round table,
everyone says that.
That's great to just actually talk.
- Well, hang on a second.
Speak for yourself young man. (laughing)
There's nothing stopping you.
I mean, am I saying you can't come over,
or you can't come over and we can just go
and start playing some music and--
- No, no, no, no, yeah.
- But you're always on tour.
- Oh, shut up, that's--
- [Terence] We were just talking about that, right?
- So untrue, so untrue.
Well, that's because
nobody came over. (laughing)
I was sitting there all by myself.
- Didn't you just say you had 28 dates added to the--
- Yeah, yeah, okay.
- And I'm the touring musician, all right?
Yeah, right, okay, yeah. (laughing)
- But the bottom line is, okay, answering your question,
as soon as somebody asks me have you seen anything
that absolutely amazed you, my mind goes blank, right?
I think that's what usually happens.
But I remember seeing this guy's work and going,
oh yes, I know what that is about.
I understand what that is.
That is great, that is stretching it,
that is going to Africa.
That's doing the real work and, I just loved what you did.
And I seem to remember telling you at the time.
So you know this isn't just... - I really appreciate it.
- Ludwig, how about you, anything?
- I mean, I'm sitting here very humbled
to be here surrounded by two creative geniuses
that I've been studying my whole career.
And I think what especially is something
that I've been listening with your music for years
and years is like the way you guys bend genres
and take different music and combine them.
And that's always been extremely inspiring to me.
- All right, well--
- One of the things I love about film music is,
if I want to go and do my psychedelic country
and western heavy metal album, there is probably a movie
that is, there's a producer sitting somewhere going,
banjos and fast guitars, I need it.
You're required to experiment.
That's the call.
The call is to go and try something new, you know?
- Well being a performing musician,
being a jazz musician, for me, I've always wanted
to write bigger pieces.
I've always wanted to do something in other areas.
And trying to do that as a jazz musician,
that's damn near impossible.
But, having an opportunity to work in the film world,
I get a chance to experience a lot of different things,
writing for orchestra, writing for electronic instruments,
writing for a lot of different type of other types
of music that we'll bring into the fold,
so to speak.
And then the crazy part about it is that
then it starts to influence what I do in my live show.
So then I still have to figure out, okay that works there.
How can I take some of those elements and incorporate
that into what I do as a performing musician?
So the thing that I love about film is the possibility
of just experimenting in so many different genres
and having that just be a part
of your entire musical experience.
It's not, like he said, it's not just a film thing.
But, it's like you're bringing all of your experiences
to bed to create something unique.
- Okay, on the projects you worked on this year,
was there a moment where you had a breakthrough,
or an aha kind of moment?
- Well, for me, working on Black Clansman,
it's a tough subject to deal with.
I didn't think it was a real story at first.
But I kept trying to think about what would be the sound
that would exemplify what most African Americans were going
through at that time?
The thing that I kept thinking about was,
when Jimi Hendrix played the national anthem.
("Star Spangled Banner" by Jimi Hendrix)
To me, that was one of the most patriotic things
I've ever heard creatively done, because not only did
he play the anthem, but the way he played it,
it seemed like it was screaming,
we're Americans too, you know?
And dealing with this topic, with this policeman
who was a rookie, who decided to infiltrate the Klan,
I thought it was an incredibly heroic act,
but one that still was saying, hey man,
we don't need this division.
We're all Americans.
We all belong to this country.
And we all have something to contribute.
So the aha moment for me was to say okay,
well let me take that sound, or that sonic idea
of Jimi Hendrix, and use that as the focal point
behind what it is that we're going to do for the film
because I feel like oddly enough, we're still saying this.
We're still screaming to be considered equal.
("Photo Ops" by Terence Blanchard)
By doing that, the music didn't take
on a reflective kind of personality.
It took on something
that's currently relevant, unfortunately.
- Yeah, yeah, Hans, how about you?
Breakthrough moment on Widows?
- Listening to him, I'm going to tell you the same story.
1983, I was, Stanley Myers, the composer,
Stanley Myers' assistant on a television show called Widows.
And it was amazing because I thought,
here's somebody writing about the sort
of casual brutality that happens to women on a daily basis.
And this series, it's amazing.
It's going to revolutionize the way women are going
to be treated in the world.
And when Steve McQueen came to me,
we always were talking about the last five years,
what are we going to do next?
And he said, what about Widows?
And you know, at first, I was just really excited
because I had a connection to it.
And then, I suddenly realized that it was terrible
that it was so relevant to do this movie again.
Because if anything, things had gotten worse.
I look at the way Steve makes a movie,
and I go oh, that's the melody.
All I am going to do, is I'm just going to be an orchestra.
I'm just here, just a little bit here and there.
And the movie, the tune is already completely established
by the artistry that is Steve McQueen.
- We got to start thinking like professionals.
We're in business together.
There's not going to be some cozy reunion.
After this job, we're done.
We have three days to look and move like a team of men.
The best thing we have going for us is being what we are.
- Why?
- Because no one thinks we have the balls to pull this off.
- You've all worked with the same director multiple times.
So Ludwig, on Black Panther, how did that help you?
- Well, I worked with Ryan Coogler
for my whole professional career.
I moved out here from Sweden to study at USC,
and he was studying directing at USC,
and I was studying film scoring at USC.
And he was one of my first American friends.
He came up to me at a party and we started talking
about Swedish music artists.
And I was like, how do you know about Lykke Li,
or Little Dragon, and all this name dropping
of all these Swedish artists?
And then I started talking about film.
And so we just kind of hit it off right off the bat.
And then, his first student film was a five minute short.
And then, Fruitvale happened, Creed happened,
and then Black Panther.
So we have the same kind of relationship
that we had 10 years ago.
But it's just on a bigger scale.
And so what is so unique about our relationship is
that we get started so extremely early
when we start working.
He sends me the script as he's writing it.
So at that time, I'm reading the script for Black Panther.
And I'm like, the only way I could score this would
be for me to go to Africa and immerse myself
in the culture, research, learn and study
with some of the best musicians in the world.
And I could do that because I was,
normally you have three months to score a movie.
But, here, because I read the script,
and I had six months before they starting shooting.
So I went and did all my research and studied,
and I was able to have something really unique.
- Terrence, how about you with Spike?
How has that relationship evolved?
- A very similar fashion, actually.
You know, Spike, he gets excited and he'll call me up,
Terrence, I'm getting ready to do blah, blah, blah.
I'm sending you the script.
And he will send me the script well before he's
in pre production, you know?
So for Blackkklansman, I had the script.
And I'm sitting down, trying to figure
out what it is that I'm going to do,
and try to come up with ideas.
And since it was set in the '70s,
we had an initial conversation before we started the shoot,
where he said listen, I think I'm going to have an R&B band
be a part of the orchestra.
And I said dude, that's exactly what I was thinking.
You can't have a movie with those bell bottoms
and platform shoes and Afros without that.
And the cool thing about Spike is that while he's shooting,
he'll send me stills so I can get a sense
of what it looks like, and get the tone of it,
and what I'd normally do is I'll take those
and I'll make them my screen saver.
So I'll engross myself with the look of the film.
And in Blackkklansman, they were some stark images,
especially in the latter part of the film
where Harry Belafonte is giving a lecture
to some young college students.
Those are some tough photos to look at.
But I use those things to kind of put me
in the mindset of the piece in general,
and just so I can stay focused.
But we start well in advance before anything.
As a matter of fact, one of the things
that's really interesting about working with Spike is
that he'll already know what scenes he wants
to shoot based on music, before he starts.
And sometimes it may be a song, sometimes
it may be a piece of score, or something like that.
But he's thinking about that before
he starts pre production.
- I want to talk about representation.
Obviously, it's a very large topic in Hollywood these days.
How does the film world, film music world,
how does it become more inclusive?
And has it become more inclusive recently, do you think?
- I keep talking to my musician friends about it
because it's a particularly interesting one,
I think, to talk to amongst musicians.
And I just want to see with you guys if you think
I am remotely right, because like I have this band,
and they come from every continent and every nation,
and every creed, and every gender.
And the only two things I'm asking of them,
blow my socks off when you play,
and try to be on time when you come.
(laughing)
But I don't care about the rest.
So we're very inclusive.
And the other thing,
which I think musicians automatically do,
it's not just about that we play well, we learn how
to listen to each other.
I mean, when we play together, we develop
this acute sense of this is how
you're going to make a piece sound beautiful?
How will you support the other musician?
So I think we're naturally inclined to be more inclusive.
- I think for musicians, we have a certain type
of open approach because there's a saying one
of my teachers used to say, "But can he play?"
If you can play, you're accepted automatically, like that.
I don't think the issue is with the musicians.
The issue is in the industry itself.
There's one film that, you know, the 25th Hour,
when I was working with Spike.
Man, we found this Muslim cleric to just come
in and sing on the opening credits.
Didn't give him any music, just say hey man,
sing what you feel.
And it was beautiful, you know what I mean?
So it wasn't like we were trying to go get somebody
to emulate, no we went straight to the source,
just like he did, You know what I mean?
So with musicians, we are all inclusive
because we are fascinated,
I know for me, I'm fascinated by what people do.
We basically all use the same chromatic scale.
We have these different instruments
that can create different colors and rhythms,
and all this stuff.
And to go to other parts of the world to figure out,
to see how somebody can take that same thing
and come up with something unique,
is a fascinating prospect for me.
- Both of us worked with Baaba Maal, right?
We are casting an instrument as much as an actor.
And even if you don't understand the words,
instinctively you know there is somebody telling
you a profound story with their voice,
or with their instrument.
And filmmakers get to have the pleasure
of seeing these amazing actors come as the last actors
that get cast, are such incredible artists.
And it's not that they serve the film,
they elevate the film, you know?
And word needs to get out that they can come
from any culture, and from any gender,
and from anything.
They're all out there because everybody has a story
to tell, and they're people who are,
I mean, Baaba Maal, I'm sure you had the same conversations,
sort of, with him.
You know what amazed me is his background.
It's history, 2,000 year tradition
of telling the history of his people.
And we get to go and put that into our little movie.
I mean, it's quite an honor.
- Yeah, I mean, when I went to Senegal,
he invited me to come with him on tour.
I wasn't even sure that I was going to be able
to record with them, so--
- So we both played with them. (laughing)
- I went on to tour, and he started playing
at 3:00 am in the mornings.
And we'd been traveling for three days.
And we just saw him entering the stage,
and it was a magical moment.
And he played up 'til sunrise.
And that was like aha feeling for me.
Like, how can we capture this feeling in the movie?
("A King's Sunset" by Ludwig Goransson)
And then, I spent two weeks with him in his studio.
And everyday it was new musicians coming in,
and like I heard there was a group
of talking drums players coming in,
it was six talking drum players,
and that instrument is such an interesting instrument
that we really never heard in cinema before, so.
And I sounded really regal to me,
so that became T'Challa's theme.
And you can play, you can talk with this talking drum.
So I asked the talking drum player
how would you say T'challa's name on the drum?
And he played T'challa, that rhythm, da da da, da, da, da
on the drums.
That become-- - That became the theme?
- That became the theme, and right away,
I sent that to Ryan because it was in a voice mail.
He was working on the movie at the time.
A couple of days later, we were recording a Fula flute,
which is from the Fulani tribe,
and I never heard that type of instrument before.
You can scream into the flute, and the flute player,
I told him about the Killmonger's character,
and he kind of started playing.
And it transformed into another person.
It started screaming Killmonger's name into the flute,
and that aggressive sound was something
that I also never heard before.
And I recorded it on my iPhone, sent it to Ryan,
and he was in pre production.
And he sent it to Michael B. Jordan,
as he was preparing for his role.
So--
- That became the Killmonger theme?
- That became the Killmonger theme.
- Wow, that's amazing.
We have to wrap it up,
but I want to ask one more fun question.
When you were 17, what was your favorite song,
or your favorite piece of music?
Ludwig, why don't you go first?
- When I was 17, okay, when I was 17.
That was a long time ago, I was--
- Well, if it was a long time ago for you (laughing).
- That was my last year of college.
And I was really into, that was actually,
when I was 17, that was the first time
I got an opportunity to write for orchestra.
So before that, I was a metal guitar player.
I played Metallica.
I had just got into Pat Metheny, and jazz,
and Kirk Rosenwinkel, and Keith Jarrett in high school.
And then in my last year of high school,
I got an opportunity to write for a symphony orchestra,
a five minute piece.
And at that time, I was listening to I think,
Nightmare before Christmas and Star Wars.
(laughing)
And, so my orchestra piece was very much a combination
of those two pieces of music.
But when I heard my music in it performed live
for the first time, by an 80 piece orchestra,
hearing that, it changed my life.
- Terrence, how about you?
- It's Miles Davis, Miles Davis dude.
Miles Davis, there's two albums,
one with him playing My Funny Valentine live,
a lot of concert, and then him doing Porgy and Bess.
But My Funny Valentine really got me because
I had been listening to Clifford Brown,
Sonny Rollins, Charlie Parker, and all of that stuff.
And to hear all of those musicians,
I would hear them play these notes,
and then Miles would just say, "Bo, doi, doi, doi."
And it just caught my attention immediately.
I'm sitting there saying, well what is this?
And then to go from that, to hear him
with Gil Evans, Do Porgy and Bess
with these great voices that Gil would use
that were so different than anything
that I had ever heard before, it literally stopped
me in my tracks.
I remember my father offering to give me cash
to go out because I was sitting in the house
on the weekends, (laughing)
playing these records, you know?
He's like, man, go do something,
you always sitting in the house.
But I was so captivated by this stuff
because I didn't know what jazz was.
I was still trying to figure it out.
So I would literally play all of these records man,
I would play one track, and I would just listen
to the bass.
And I would go back and I would just listen
to the drum line.
And I'd go back, listen to each instrument,
trying to figure out what was jazz, you know?
So it allowed me to understand how these guys communicate,
but that Gil Evans thing man, it just blew me away
with just the orchestration and how everything came
together to create this very unique but powerful kind
of musical experience.
- Hans, how about you?
You're 17.
- 17, I can pretty much tell you exactly.
I'd gone through my blues phase in my 12, 13, 14,
as a rebellion against the classical music
I was fed on a daily basis.
And as I found my way back to classical music,
and I remember being obsessed with the last movement
of Mahler's Second Symphony,
which I would just keep playing over and over.
But at the same time, I discovered Kraftwerk,
and Tangerine Dream.
And partly what I thought was so interesting,
was that there now was a new German music
that wasn't based on the blues.
Because popular music in Europe, you know,
Stones, etc. had basically stolen everything
from America, and had made that their language.
And suddenly, there were these electronica musicians,
whose vocabulary was classical music again,
if they knew it or not.
- I think that was great,
and thank you for the great conversation.
- Thank you. - I appreciate it.
- No, thank you for the honor of being with you too.
(upbeat music)
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Composers Hans Zimmer, Terence Blanchard & Ludwig Goransson

24 タグ追加 保存
Anson Yuen 2018 年 11 月 29 日 に公開
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