The score

Hi, I'm Atom Egoyan. I'm sitting here with Mychael Danna, and we're doing commentary for Exotica. I'm very excited. It's the first time I've done one of these with Mychael. We were originally supposed to do this just over a month ago, but Mychael was just coming back, interestingly enough, from India, where he was starting work on the score for Life of Pi, and it is fantastic.

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music in this film which is immediately so exciting and so accessible and then there's music which kind of lurks and kind of has a develops in a much more gradual way through the course of the film and I think that's what's so interesting about this score like here we're about to go into this club and there's a lot of music like this which is just really exciting and which you puts you into a world and you want to be in that world and it's almost like a drug it's sort of

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visual motifs, but we needed an amazing score. And what was so beautiful about this is that Mychael and I had been working already together for 10 years, really, since Family Viewing. And from that very first film, we developed this language, this ability for me to write a certain type of script, knowing that Mychael's collaboration and artistic understanding

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soundtrack, or I guess great, it depends on your criteria, but my criteria as a guy who liked 80s and 90s hair metal, it's a really good soundtrack. And it's also got a great score. You know, the score for this movie is composed by a guy named Sylvester LeVay, who began his career as a songwriter. He wrote the Elton John song, Victim of Love, and the Donna Summer song, The Wanderer, among others. But his big claim to fame in the 70s

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because she was a regular on Pee-Wee's Playhouse as Reba the Mail Lady. Right. And she won an Emmy and Golden Globe for Lackawanna Blues and is Broadway and off-Broadway stage actress as well. And this song here, I believe this is the Strikes Like Lightning song, it was written by Giorgio Moroder, who I always find interesting. Another American Gigolo connection. Exactly. He did two songs on the soundtrack. He also did one, I think, called Shadows.

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and both of them are performed by Mr. Big. Oh, interesting. Oh, yeah, I guess one fact I should mention that I forgot to about Sylvester LeVay, the composer for this, is a year after Navy Seals, he would actually score another Charlie Sheen movie, Hot Shots. Oh, okay. Gosh, Charlie Sheen was really cranking them out in this period. Yeah, it's unbelievable how many things he had coming out. Now it might be...

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Darren Aronofsky

He knows it's going to come. It hasn't hit him yet, and his nausea is growing in the back of his throat, and it doesn't kick in until there. We call that the vibrator cam, which was just basically shooting with a long lens and shaking the camera viciously. And now the paint is here, and we sort of accompanied it with not only the sound design, but the score as well. All the different elements working together, all the different departments.

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Darren Aronofsky

hallucination part of the sequence. The whole score changes, as well as the sound design, as well as the camera work. This was all shot MOS. We couldn't afford to bring a sound rig down into the depths of New York City, and so we shot a lot of this with a Bolex, which is a very, very simple 16mm camera.

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Darren Aronofsky

with that, with the noise, with the score. And this headache sequence was perhaps one of the hardest days to shoot, I think. It was really, really hard, because there was a lot of sort of special effects involved. There was blood, and there was scissors, and there was loss of hair, and there was the smashing mirror. And then there was Sean's performance, which for me is like being really tight and close friends with Sean for years. We were best friends in college.

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This is a good place to bring up the score. John Williams was not the original composer. If you have one of the early posters of Home Alone in your attic somewhere... ...It says "Composer Bruce Broughton." And Bruce Broughton was the original composer... ...on a film that I wrote called Young Sherlock Holmes. And I loved his score for that film, so I met with him and hired him for this. He was not available to do this... ...and he essentially was doing The Rescuers Down Under. I think that's what it was. So we lost him. So we had no composer while we were shooting... ...the second half of this film. And we went to John Williams thinking, "He'll never do a film like this." But he saw the film, loved it and decided... Amazing what he did. - His score is unbelievable. The score is beautiful. No. - He doesn't miss. Well, the thing is, comedy's very difficult to score... ...because it can always sound stupid or goofy. And John never really let that happen. I think one of the great things about John Hughes' screenplay here... .IS that John really filled in every possible... ...logic hole here. - Yeah. Little loophole. Any-- You know, in other words, by putting this kid into the back of the van... ...he took care of the fact that you would be counted... The head count worked. Also adding Buzz here, confusing her... ... Just added to the... I don't wanna say the reality... ...because the film has a heightened reality, but the reality of what's going on. Yeah, and how it all happened. - And the audience always bought it. They bought the fact-- Particularly, we were concerned about mothers... ...because mothers would say, "How can you leave your kid alone?"

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Look, honey, the kids are.... You had Ally Sheedy in the sequel. Ally Sheedy was in the sequel. Yeah. - Yeah. But we-- I think we were piggybacking movies at that point. We were just finishing Only the Lonely, and Ally decided to do it as a favor. We were mixing and matching cast. - That's true. Ha, ha. I did a little stint in that one, Ally did a little in that. Is that okay? - Yes. I'll wait. A bit of the New Jersey influence here. We had one of my favorite bands at the time... Still pretty big in England and places like that. Southside Johnny and the Asbury Jukes... ...recorded a version of "Please Come Home for Christmas." It was my opportunity to get to work with some great soul singers... ...and some people I'd always wanted to work with for the soundtrack as well.

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Again, when I first heard the John Williams score with this film... ...it just brought it to life in a way that I had never imagined. It is what he does for a living. It is. Yeah. But he does it so much better than anyone else. That is true. - I have to say, he is.... He's truly a master. He never, ever misses.

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There should be. Why isn't there? It's not the actors. It's, like you say, the editor. I think the score, by the way, which we haven't mentioned yet. I don't know what you make of it, but I freaking love the atmospheric side of it. I don't know about the themes. I didn't really notice them too much, to be honest. But the general sort of ambience is brilliant. Yeah, I love... Yeah, I mean, Eric Goldenthal combines electronic with, like, orchestral stuff, but also...

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uses a lot of weird sort of percussive instruments to create sound effects, and that's where they had a major sort of argument about the sound levels of the sound effects of the music, because the music's also creating sound effects, and what would you then level out and balance with the sound effects? But yeah, I think this is probably the most lush score out of the three, because even at the end when she...

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dies or sacrifices herself. It's a really emotional piece of music. I think it's a wonderful score. I've flip-flopped a lot on the scores. I mean, I still love Alien because that theme. But this one, that intro music, the title theme, that sort of synth, I love that stuff. Really good. I think it's probably, yeah, I think the score's doing a lot to save the...

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to explain what the deal was and that he really wished he could do this movie, and that really meant a great deal to me. So we were on the lookout for a new robo, and a lot of this is, by the way, Connie Palmisano, second unit, and I'm really pleased with it. Another little interesting bit of trivia, this chase scene before Basil did the score,

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You know, you have temp music in movies before you have the final score. And this was scored to Predator, which is ironic since I've just written the new Predator film that Shane Black is directing. And Shane Black is one of the cops in the car you're about to see. So what goes around comes around. It all comes back.

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It's interesting when I've talked to you, you didn't have as much of a relationship with Barry Dvorzen on Night of the Creeps. It was a little more with Bruce Broughton on Monster Squad. But it seems like you and Basil had a little bit more of a relationship on this movie than you did with your composers on the other two. I think it was comparable to Bruce. The difference with Barry on Night of the Creeps was that was an electronic score. Right. So apart from my initial...

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This is a period of music that I know he loves. Curtis, with that 100% concentration, was able to create and ask for the score that kind of matched these cues. Jerry Goldsmith did the score, and the source cues to me, well, the score was fantastic, and I have the CD, and I listen to it, and I play it all the time. When other people are around, they always go, where is that music from? And the thing about it was that

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I was really thrilled with the score. I mean, I knew, you know, we obviously had a sense of the variety of songs that Curtis was going to use in the film. But once we heard Goldsmith's score, I think that just sort of was the solidifier, you know, that great sort of lone trumpet and that orchestra that he uses really

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It just sort of encapsulates the style and the class, but also the sort of loneliness as well of the place. So I was really thrilled. I loved it, you know, and I still do. I still love the soundtrack. Sir, I took the call. It's my case.

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Taylor Hackford

We shot this scene in Bellevue Hospital in New York. It was a particularly exhausting time. We did not shoot this scene, this film, in continuity. You never shoot a film in continuity. You're jumping around here and there. We were shooting through a weekend. It was cold and freezing outside. We'd done the scene on 57th Street, which you are about to see, the day before. The day before that, we'd been up on the rooftop shooting... ...the initial scene between Al and Keanu. This was on February 10th and 11th in the middle of the winter. Everyone is exhausted. We'd been shooting for months. And now these two people have to do a very difficult and emotional scene. Now, they're both drained in a way they would be drained in this scene. You know, you work with what you have. But, it is again, another culminating scene... ...an expository scene that takes us out at the end. That you discover these revelations and it happens like an avalanche at the end... ...of this film, one after another after another. I haven't mentioned James Newton Howard yet, who is the composer. James is a fabulous, fabulous artist.

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Taylor Hackford

I actually gave him his first big break in films on Everybody's All American. We got back together on this film, and he has repaid me immeasurably on this score. I think he created a brilliant score for this film. There's a lot of music. It's a very difficult piece to do. The music has to be the emotional core of the piece. It has to establish how everyone is feeling. And I think there are moments of grandeur, of huge, huge cues... ...and, at the same time, there are many very quiet, very sad moments. And I think the music that's happening in this scene actually complements it... ...and adds to it fantastically. Now we're coming out onto the street. Kevin is going to see Milton. He sees Pam, and if you listen to this cue, it's been one cue... ...going all the way through. It's a long, long, long piece of scoring... ...where you go from the church to the street, to the hospital, to the death... ...and then you come into the scene, between Kevin and his mother. Now we're beginning a chorus with a boy soprano...

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Taylor Hackford

...and we are going to forget conscience. Conscience doesn't exist. "It's a bag of bricks. Drop the guilt." So at this moment, now it comes down to Connie Nielsen and Keanu... ...and our special effects. I want to give credit to Glen Eytchison... ...who helped us design the bas-relief. Ray Prado, who designed it. All of these ballet dancers, they're actually dancers that we shot under water... ...and then were able to key in for the background. I don't think this has ever been done. I noticed some photography of ballet dancers shot under water. It gives a support to the body. They're very interesting. We shot these people in advance. We carved the bas-relief using... ...their likenesses. Then I had to shoot each one of the sequences... ...and the movement that they do, early and then we keyed them in... ...and they came alive in the background then through the digital process. You can see this in the background right now. Those are people under water that we made work... ...and then inserted them into the sequence. These are the ways that you have a problem and try to solve it... ...and to try to make it languid and seductive. And now Keanu has his moment of choice. How does he beat the devil? By killing himself. He destroys the instrument of the devil. I thought this was something... ...that I haven't seen before in a film. Where you have that moment... ...where he's admitted his own guilt... ...he realizes what he's done, and now he beats the devil. He fools Al Pacino, who wasn't expecting this. Now you see the devil for what he really is. He gets angry and he's destructive, and he destroys his own daughter. The people that are dancing up there and being very seductive... ...you know, turn and burn in flame. And this is our moment of kind of orgasm, if you will, where the devil... ...kind of shows his true colors. And, at the same time, he's very, very... There's something sad and tragic about him. He's tried so hard for a thousand years. He's right on the verge of success. And, in fact, now he's got to go back to the beginning, back to start all over again. And what we did is that we went back. You know, he looks like Keanu. If that's his father, he would. And, in fact, we go back and look at Lucifer... ...and come down in this wonderful moment of phantasmagoria. And then, shock of all shocks, we're right back at the beginning of the film. That moment that he was looking in the mirror and making a decision... ...of what he's gonna do. Whether you want to interpret this as a flash forward: He looked in the mirror and he had that moment and all this happened. You know, when people talk about drowning they say their whole life... ...goes in front of their eyes. That could've happened. Or maybe, in fact, it did happen, and because he beat the devil... ...he was granted another reprieve. He has to go back and see what he'd do the second time. I'll let you have either one of those interpretations. But in reality here, it was important, because this is a moral tale... ...to return to the beginning and realize that decision that one makes. Every day we make decisions in our lives. We make decisions and then justify them. And we say, "Well, maybe I crossed the line there, but what the hell... "...it doesn't mean anything." These things mount up, until finally you're morally bankrupt. And at this point, he's back at the beginning, which most of us don't get. He gets a second chance. He has to now decide what's the right thing. But he's looking, you know, at the person that he destroyed. He looks at that sweet face, and he realizes, "My God, she's alive." And at this point he says, "I am now"... ...meaning, "I'm all right, I am now. "I thought I destroyed you. I thought..." You know, it's a reprieve. And in a film, it... This is an allegory. It's a moral tale. You know, you come to the point again, he's got to make the same decision... ...at the beginning that he made. And will it be the same or will it be different? And he has his moment of choice. Again, the score, James Newton Howard used the same cue... ...that he used in the courtroom when he had to make his choice about... ...whether to call Melissa Black or not, which, I don't know whether... ...it's subliminal or not, will make you recall that moment. What is he gonna decide?

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The director. Dave Foley, one of the stars and one of the writers, and Jay Kogen, one of the writers. And a big player. And he does play a very important role in the film. And so does David, by the way. I do. No spoilers. Oh, that's Dave's name. That's your name, Dave. Can we get any of the sound in the headsets? Softly. Do you want it brought up a little bit? This is our Lawrence Shragge. Right, Lawrence Shragge's soundtrack and the great sort of...

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Starting a movie where everyone hates the lead character. Doesn't test well? Does not test well, no. Everybody is told in a very blatant way, do not like this main character. When you are given a test score later, rate it low. Ah. Promotion's being announced today, and I think I know who's going to get it. I like that no one gives him any clue that they agree with him at all. On anything.

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He did a great job as Jimmy, yes. Yes. He carried the reality of every scene you were in. Mm-hmm. How could you let this happen? And you, what was the orchestra you... Seattle. We went up to Seattle to record the Seattle Orchestra, the score, the whole score, and singers. My idea. I thought it was a good way to throw suspicion off me.

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Alexander Payne

I used many, many, many of the same people between Citizen Ruth and Election. The production designer, Jane Stewart, and the DP, Jim Glennon, and the editor, Kevin Tent, and the composer, Rolf Kent, and even the same assistant cameraman, and the same prop master, and a lot of the same grips and electricians, and Omaha crew people, a lot of the same actors. In a way, Citizen Ruth was something of a dry run for Election.

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Alexander Payne

This scream, this Native American scream associated with Tracy, is from a 1966 spaghetti western called Navajo Joe, and it's music by Ennio Morricone, and I'm a huge Morricone fan. I don't know why, but somehow one day in the editing room, I just started, I was watching Tracy and just screamed that scream out, because I think I'd been listening to that CD recently.

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Alexander Payne

I know what it is to fight hard and win like when we almost went to state last fall and I threw the fourth quarter pass against Westside for the touchdown that won the game by three points. I won't let you down like I didn't then. I promise we can all score a winning touchdown together. Vote Paul Metzler for president. Thank you.

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Stephen Prince

the metallic chinking of the ice axes carried by the men, the wind, and the sound of their labored breathing. Each of these has a crispness and clarity that enables them to stand out as discrete elements, even though the soundtrack is a richly layered blend produced by mixing them together. When Dreams was released in 1990, cinema was making a transition to digital sound.

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Stephen Prince

Kurosawa plays their sorrow by focusing the soundtrack on the isolated ting of a single small bell hanging from a plant that she carries. The design in The Peach Orchard and this scene in Redbeard are very similar. But in Dreams, Kurosawa creates the sense of an empty sound space in which the isolated effect of the bell carries a stronger charge than he was able to achieve in Redbeard. Kurosawa had always been a filmmaker keenly interested in sound.

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Stephen Prince

and Kurosawa's visual treatment presents them as if they were an ensemble in a play wearing masks. So the episode then is a kind of warrior ghost play, not done in the style of Noh, but influenced by its general template. He salutes their passage and the music score provides some martial notes on the trumpet.

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Paul M. Sammon

And we finally found a piece I cannot remember where. By the way, the music on RoboCop 2, people have asked, why did not Basil Polidorus do the music for RoboCop 2 when he did such a great score for Robo 1? The answer is quite simple. Because the film came together so quickly, Kirshner really did not have a lot of choices as to the crew members. John Davison was the one who was primarily responsible for putting a lot of the package together.

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Paul M. Sammon

And Kirshner actually wanted Leonard Rosenman because he had worked with him and he was friends with him. And Rosenman was a very respected composer who had done things like East of Eden and Rebel Without a Cause. So basically what happened was that Leonard was John's concession to Kirsch to allow him to have a creative element of his own. So that's why it wasn't anything against Basil Polidorus.

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Paul M. Sammon

I just put my hands over my face and I thought, oh my God, a choir? A heavenly choir? But what can I say? One of the things that I wasn't happy with, although the score does work occasionally. Jane Bartleby, who you just saw, by the way, was the reporter at the very end.

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score that makes his features i think this is one of his first i'm wondering if this was his first score because i hired him based on um again there was a lot of resistance to hiring elliot because he was not the conventional choice for this kind of film but i really loved his his music yeah no he was did really interesting work i think he's part of our team of trying to make it a little different than a joel silver movie

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Typical Joseph movie. Married to Julie Taymor at the time. Yeah, I think he did a score for her before this movie. You may be wrong. Oh, yeah. And here we go. So this is all disinformed the way I designed the museum so that the sequences could take place. So we had the glass floor, which exposes the old downtown L.A.,

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two hours and 37 minutes oh my god really yeah well it's funny that the premiere that last line kind of didn't get the laugh we wanted and joel silver goes what it comes up to me goes what if we put a laugh track at the end no one will know will they just have the audience laughing at the last line we'll just put it on the soundtrack i'm like that's good for premiere but like if it's one person at the 4 30 show in anaheim like you know it's not gonna it's gonna be weird

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And we said, okay, now how are we going to do this blend of score and records? It came down to this wonderful kind of template, which is, Alan said, I'll underscore all the emotion and the records can play the landscape. And that's what we did with the music. The records play the action, like when Forrest is running and stuff like that. And Alan comes in when...

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You know, so, you know, like Vietnam is basically all scored by records until the guys start dying. Then Al starts, you know, sneaking in. And so that's how, you know, that's how we did the movie. And when he's running across America, it's all records. So the records played the landscape as if it was part of set design. And then Alan just played all the emotional underpinning of the characters. We were just out there hanging out there. I just...

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I think here's where the score by Alan starts to bring us into a level that just becomes more and more throughout the movie from here on out. The first time I ever watched the movie from beginning to end, I had Alan there. I had Alan there, I had my editor there, I had my assistants there, and I had...

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It was a real score.

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I wanted the soundtrack to the voiceover to become, especially by that point, the last day as a wise guy, by that point to become almost like a piece of music. It even doesn't matter what he's saying anymore. It's just rattling words, rattling words until finally the cop

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So as we come to the end here, I guess I should talk a little bit about the composer of this movie, Jerry Goldsmith, who is another one of the top. In fact, maybe I'll go so far as to say maybe the top guy in this movie in terms of his credits and career. I mean, he had one of the most incredible careers of any composer in the history of American movies. I mean, I don't know of anyone except for maybe John Williams. Yeah. I mean, if somebody had to name five.

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He would be on practically everyone's list of top five. Has almost more classic scores to his name than anybody else. Just to name a few, Planet of the Apes, The Ballad of Cable Hoag, Patton, Chinatown, The Omen. He won an Oscar for that. Alien, Poltergeist, Gremlins, Hoosiers, Total Recall, Basic Instinct, Air Force One, L.A. Confidential. He was a real favorite of Joe Dante's. Dante had him score just about every movie he ever made.

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And there's Kenneth Kokin's credit. Yes, our co-producer. We have a neat little group. Kenneth Kokin, our co-producer. Chris and John Ottman, editor and composer. And myself. And we've known each other for a long time. Chris and I went to high school together. And I know Ken and John from film school at USC. San Pedro last night. The idea for the titles... We debated that one forever, as to exactly how to do that.

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This is, um... I originally conceived this scene to Tchaikovsky's first piano concerto, but... I remember that. ...knew ultimately that we would go with the score, once the theme, once I found a theme for Keyser. I did everything. Pretty much, that was a hard push. This scene was also

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Hi, I'm Peter Hyams. I directed the film and photographed it. I think perhaps the most important part of the opening titles is the music. John Debney is a composer I worked with before, and what we both strove for was to make a signature very early on in the film. I wanted the signature to be religious,

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politics or painting or photography thousand years have ended 27. it ends in a football score i was an art student my whole life can't say i ever got very good except i did it a lot and studied it a lot and those painters whose works i loved were the people who used shadow and light and light sources if somebody's interested in cinematography i really think

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The Sulaco was left from the last movie. We had one shot of it to remember it. It had to be modernized and tricked out for this show, and there it is. You borrowed that back from Bob Burns, who had been given it? You borrowed that back from Bob Burns, who had been given it? I think you're right. - Burns really helped this series out cos on Resurrection we also got the queen-alien head that Jim Cameron gave him, and refurbished that. Thank God he's around. He saved Fox a lot of money. That was nice of him. At Fox there's some wonderful people, and good that they saved a few bucks. When you're setting up a shot, sometimes you get an accident. Somebody wrecks something and you think "Oh, let's do that." That's a lovely thing about filmmaking - you have the ability to change your mind. And there's certain things that happen by accident that are just magic. I'll always remember Conrad Hall talking about putting a light through a window, and this guy's in a room, and it's raining outside and it created tears, shadows of the rain dripping like tears on the man's face. Purely by accident. There were elements here that were shot months and months apart. She sees, or she thinks she sees, the alien tucked up here among the ductwork and pipes. It was a miserable sequence. I had to be in this suit, completely still, while David shot her POV. But, again, we had dumped these crickets all over the suit. This is the scene I remember most vividly. The crickets had crawled down through the neck in the suit and I could feel them. It's like they were moving between my skin and the suit. I know these things weren't biting me, but you could feel their little claws digging. Their evil intent. - I knew they were after me. There was some oxygen deprivation too, cos he couldn't really breathe as well as he should have. He was all crammed up... All this stuff of Sigourney, shot in London, I'm up on top of that ledge overhead, waiting for this moment to crawl out and fall on her. This is the cricket shot. So this is a mislead here, right? I was crying, I was weeping inside that suit. These lines, I remember hearing them over and over during each take, and I was wedged up in this ledge. And Alec was behind me, giving me something to push off against so I could crawl down and drop off in front of her. Yeah, but the cue came, right? And you, Tom, I couldn't believe it, you were asleep, weren't you? It wasn't sleep as much as I had gone unconscious from the lack of oxygen. It was oxygen-deprivation apoplexy. It was amazing because... - He was asleep back there. Look how motionless I am. The only reason he gets up to make his cue is that I pounded him on the foot. His foot was hanging over. I'd hear "Action", and Sigourney, and I would just pass out, take after take. Well, that's what good dialogue does, Tom. There a masochistic aspect to this. But it's so worth it when you sit in the theater and see the audience crawl. You make them squirm like the crickets did you. I am the cricket on their skin. Wasn't that the song from Beaches? But it is amazing how much stuff goes on behind the scenes, that nobody's aware of at all, that's required to get all this stuff to happen. And it just fleets by, but sticks in the mind. Sometimes. It's good that people aren't aware of it. Oh, no. Of course not. But that's what we're talking about today. All the nightmares that we... - Yeah, right.

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Michael Mann

is quite a fantastic composer and did brilliant, brilliant work. There's a composition by Arvo Pärt called Perpetua Mobili, in which it perpetually kind of moves up a scale, but the melodic line never resolves into the tonic, and he embraced that concept, and that's yielded musically this intense expectation or anticipation, and it never really quite gets to where you're going until Hawkeye

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Tony Scott

The music that was used in a movie called Badlands, which was a composer called Karl Orff. And when I met with Hans Zimmer and talked to Hans about the music for the movie, I said, I want to pay homage to Badlands. Badlands is one of my top five favorite movies. And so therefore, I didn't have any qualms about wanting to pay homage to that particular film. So that's why we took Karl Orff as a basic idea for our music.

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original punk music, I would have loved to have had. I mean, the soundtrack, I think, turned out amazingly. But I would have loved to have had, you know, Elvis Costello and early Elvis Costello in it and the Stiff Records people, too. But we also were aiming to make it a little more contemporary. We had Green Day for a while in the temping it. Oh, really? And that was before nobody knew who they were. Wow. And then they became...

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Basically, I would say he did the entire score and recording all together in something like four and a half weeks.

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