Temp music

Randy Thom, the sound designer there. And just this handful of people, we put the movie up on the, because actually this movie was edited on film. This is the last movie I edited on film, actually. So we actually had film. So we projected the movie from beginning to end. And it was like Alan went home that night and started writing. And it was interesting, because I put temp music in when I show the movie to Alan.

51:40 · jump to transcript →

you know, some of his old stuff or other composers' stuff, you know, just to fill the scene out. But when I ran the movie for Alan, like the whole first scene with the feather was silent. And the only music that I put in were the records. When I ran it for Alan, I didn't have any temp music in the movie at all. And he literally came home on the synthesizer and he wrote that opening theme

52:09 · jump to transcript →

And a couple of months after I ran the movie for him, I went up to where he lives up north, and he just started playing me temp cues, and it was just sketches on the piano. And it was just great. I mean, we didn't change a thing. This guy is so complex, Gary Sinise, because he wants to die just so that he can be a part of his own heritage, which is that

53:06 · jump to transcript →

This was an interesting addition from... In the temp musical score, I used "Have Yourself a Merry Little Christmas." And John Williams said, "What do you think of Mel Tormé rerecording it?" And it was such a great idea. And Mel Tormé obviously is one of the greats, you know? On a par, some people think, with Sinatra and Tony Bennett and those guys. So it's just a wonderful little addition to the film.

1:30:31 · jump to transcript →

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.

14:35 · jump to transcript →

Life of Pi, they have used as temporary score, they've used the field theme. And so I'm now in this strange place of having to replace with original score. You've had a weird relationship with Ang Lee because he was using Family Viewing in the first collaboration you had, right? Yeah, and I had to replace it. And that's something that we don't do. You don't temp your scores. And I think

29:22 · jump to transcript →

And then this, we never replaced this audio, but this is me as the announcer of the jazz. Our villain listens to jazz, which is good. I don't think we had that in the script. We just figured after. No, this was in the script, I believe. But then we were going to use somebody. But when we were doing the mix, it was like, I'll just do a temp track and then...

22:58 · jump to transcript →