1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:06,100 --> 00:00:10,833 ♪ ♪ 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:10,969 --> 00:00:13,507 -HANS ZIMMER: Hello, everyone. -Hi-ya. 5 00:00:13,642 --> 00:00:16,210 ZIMMER: May I introduce you to the person 6 00:00:16,345 --> 00:00:18,511 that actually got me into trouble? 7 00:00:18,646 --> 00:00:20,581 -This is Johnny Marr. -MARR: Hi-ya! 8 00:00:20,716 --> 00:00:23,352 And I wouldn't have... I would've stayed at home. 9 00:00:23,487 --> 00:00:26,318 I would've been a good boy writing film scores, 10 00:00:26,454 --> 00:00:27,925 I would not have left my room. 11 00:00:28,060 --> 00:00:30,190 I hadn't left my room in 40 years, 12 00:00:30,325 --> 00:00:32,458 and he and Pharrell Williams 13 00:00:32,594 --> 00:00:36,995 basically bullied me, badgered me! 14 00:00:37,130 --> 00:00:37,999 Yeah. 15 00:00:38,134 --> 00:00:41,504 Look at all these synths! 16 00:00:41,639 --> 00:00:44,241 ZIMMER: You're just jealous. You just want that one. 17 00:00:44,376 --> 00:00:46,239 The reason I've gathered all these people together 18 00:00:46,374 --> 00:00:48,410 is really quite simply this. 19 00:00:48,545 --> 00:00:50,706 These are all people who are telling the story 20 00:00:50,841 --> 00:00:52,345 of who we are as human beings, 21 00:00:52,481 --> 00:00:55,020 directors, actors, musicians, 22 00:00:55,155 --> 00:00:58,516 people who have a history beyond one movie, 23 00:00:58,652 --> 00:01:00,358 or beyond one project together. 24 00:01:00,494 --> 00:01:03,720 I'm fascinated at not having their opinion about my work, 25 00:01:03,855 --> 00:01:05,293 but just having their opinion 26 00:01:05,429 --> 00:01:07,094 about who are we as human beings, 27 00:01:07,230 --> 00:01:08,828 why are we making culture, 28 00:01:08,964 --> 00:01:12,363 why are we trying to make music, or act, or make a movie? 29 00:01:12,498 --> 00:01:14,030 At the end of the day, 30 00:01:14,165 --> 00:01:16,735 why are we all interested in being story tellers? 31 00:01:29,015 --> 00:01:31,018 ["A Time of Quiet Between the Storms" from "Dune 2"] 32 00:01:31,153 --> 00:01:33,554 [soloist sings] 33 00:04:52,058 --> 00:04:53,424 [percussions plays] 34 00:05:03,463 --> 00:05:05,595 [cheering] 35 00:05:05,730 --> 00:05:07,064 [percussion plays] 36 00:05:19,051 --> 00:05:22,750 [orchestra enters] 37 00:06:23,378 --> 00:06:25,774 [cheering] 38 00:06:25,910 --> 00:06:27,885 ["Inception" suite] 39 00:06:28,020 --> 00:06:28,915 [drums solo] 40 00:06:39,065 --> 00:06:41,961 [bass enters] 41 00:06:51,869 --> 00:06:52,774 [orchestra enters] 42 00:08:06,250 --> 00:08:08,850 [drums stop] 43 00:09:19,125 --> 00:09:20,482 [drums re-enter] 44 00:09:31,767 --> 00:09:34,430 [drum and percussion solo] 45 00:09:41,345 --> 00:09:43,076 [man shouts] 46 00:09:44,846 --> 00:09:46,079 [electric guitars play] 47 00:10:10,905 --> 00:10:12,941 [full orchestra enters] 48 00:11:04,428 --> 00:11:07,160 [cheering] 49 00:11:17,442 --> 00:11:18,901 Good evening. 50 00:11:19,036 --> 00:11:20,002 [cheering] 51 00:11:20,138 --> 00:11:21,746 Good evening, Dubai! 52 00:11:29,152 --> 00:11:31,720 What an honor it is for us to be here! 53 00:11:31,855 --> 00:11:33,415 What a joy it is to play for you! 54 00:11:33,551 --> 00:11:35,720 -It's so... -We love you, Hans! 55 00:11:35,855 --> 00:11:37,729 [cheering] 56 00:11:41,499 --> 00:11:42,733 Good, I'm glad. 57 00:11:42,869 --> 00:11:45,565 The riot starts before I even started it. 58 00:11:45,700 --> 00:11:47,697 [cheering] 59 00:11:47,833 --> 00:11:50,368 No, seriously, we wanted to come here to this wonderful city, 60 00:11:50,504 --> 00:11:54,845 and I realized what a true jewel you have here, 61 00:11:54,980 --> 00:11:56,675 what an amazing city, what an amazing... 62 00:11:56,810 --> 00:11:58,750 [cheering] 63 00:12:01,344 --> 00:12:03,086 And I realized that... 64 00:12:03,222 --> 00:12:06,923 I mean we've been travelling all over the world recently, 65 00:12:07,059 --> 00:12:10,755 and I suddenly realized the future is here. 66 00:12:10,890 --> 00:12:13,226 [cheering] 67 00:12:16,530 --> 00:12:18,027 -It's so good to see you. -It's good to see you. 68 00:12:18,163 --> 00:12:19,362 It's so good to see you. 69 00:12:19,498 --> 00:12:20,629 I'm really happy to see you looking well. 70 00:12:21,740 --> 00:12:23,907 So, I remember the fateful day. 71 00:12:24,042 --> 00:12:25,777 I don't know if you guys had planned it, 72 00:12:25,912 --> 00:12:29,539 but you and Pharrell sat me down on the couch, 73 00:12:29,675 --> 00:12:33,850 sat a little too close on either side of me, 74 00:12:33,986 --> 00:12:35,917 and started to give me a lecture about 75 00:12:36,053 --> 00:12:38,647 how I needed to go and play live. 76 00:12:38,782 --> 00:12:42,586 I mean, the whole reason I had a career in film 77 00:12:42,722 --> 00:12:45,124 was because I didn't want to go and stand on a stage, 78 00:12:45,260 --> 00:12:47,631 so I had to find a different way of... 79 00:12:47,766 --> 00:12:49,527 -Yeah. -...making a living. 80 00:12:49,663 --> 00:12:52,563 I remember afterwards saying how amusing it was for me 81 00:12:52,699 --> 00:12:57,707 to see the guy who wrote "Heaven Knows I'm Miserable Now," 82 00:12:57,842 --> 00:12:59,073 with the guy who wrote "Happy." 83 00:12:59,208 --> 00:13:00,636 -I know! -Literally, that was hilarious! 84 00:13:00,772 --> 00:13:02,944 And you two getting on like a house on fire. 85 00:13:03,080 --> 00:13:04,716 If it hadn't been for the two of you, 86 00:13:04,851 --> 00:13:06,983 I would never have gone out on the road. 87 00:13:07,119 --> 00:13:10,278 It was obvious to us that not only could you do it, 88 00:13:10,413 --> 00:13:14,085 but you should do it, 89 00:13:14,220 --> 00:13:16,087 but now, what we're talking now, 90 00:13:16,222 --> 00:13:18,091 like almost ten years later, 91 00:13:18,227 --> 00:13:20,427 look how many shows you've done. 92 00:13:20,563 --> 00:13:24,197 I didn't know that you were going to be a complete road dog! 93 00:13:24,333 --> 00:13:26,166 I know, I know, I didn't know either. 94 00:13:26,301 --> 00:13:27,429 You're more of a road dog than I am! 95 00:13:27,565 --> 00:13:28,905 I know, I mean I'm loving it. 96 00:13:29,041 --> 00:13:30,635 I don't know whether you remember this, 97 00:13:30,771 --> 00:13:34,176 I asked you to remember that you were an electronic musician. 98 00:13:34,311 --> 00:13:37,444 You know, that's a really big... that's a huge point! 99 00:13:37,580 --> 00:13:40,779 It was important that people hear you play a synthesizer. 100 00:13:40,915 --> 00:13:42,411 Well, exactly. 101 00:13:42,546 --> 00:13:44,747 Being a composer, a film composer, 102 00:13:44,882 --> 00:13:48,320 brings a certain kind of association and an idea of, 103 00:13:48,456 --> 00:13:51,587 you know, sophistication and orchestration, 104 00:13:51,722 --> 00:13:56,027 but what I know of you is programming 105 00:13:56,163 --> 00:14:01,304 and Jupiters and Moogs, 106 00:14:01,440 --> 00:14:04,667 and I'm really glad that that's a big part of your show now, 107 00:14:04,803 --> 00:14:07,437 that the electronic side of it is showing people 108 00:14:07,573 --> 00:14:10,642 who you are and what you started off. 109 00:14:10,778 --> 00:14:14,776 You know, the other thing I love is how international we are. 110 00:14:14,911 --> 00:14:17,020 The whole thing, you know, like the orchestra. 111 00:14:17,155 --> 00:14:19,520 The orchestra is from Odessa in Ukraine. 112 00:14:19,655 --> 00:14:21,157 Yeah. 113 00:14:21,293 --> 00:14:24,387 So they came over two weeks after the war started, 114 00:14:24,523 --> 00:14:26,893 and we had to smuggle them out. 115 00:14:27,028 --> 00:14:28,427 Not smuggle them out, 116 00:14:28,562 --> 00:14:30,324 but it was very hard for them to cross the border. 117 00:14:30,460 --> 00:14:31,727 I heard that, yeah. 118 00:14:31,863 --> 00:14:34,665 So, there are some real world problems going on, 119 00:14:34,800 --> 00:14:37,870 dramatic problems going on with the orchestra 120 00:14:38,006 --> 00:14:40,504 and for three hours, 121 00:14:40,640 --> 00:14:42,609 they don't let the audience know this, 122 00:14:42,745 --> 00:14:46,047 and they play with a smile on their face with great passion, 123 00:14:46,183 --> 00:14:48,249 and they can't get to their phone, 124 00:14:48,384 --> 00:14:49,913 while their country is being destroyed. 125 00:14:50,048 --> 00:14:51,217 Yeah. 126 00:14:51,352 --> 00:14:53,316 So it's not just about the playing. 127 00:14:53,451 --> 00:14:57,685 I think that's why the idea 128 00:14:57,821 --> 00:15:00,824 that it's a family isn't so wrong. 129 00:15:00,959 --> 00:15:04,768 I read a lot of stuff by young composers on the internet 130 00:15:04,903 --> 00:15:07,532 and that they're "work for hire," 131 00:15:07,667 --> 00:15:10,040 and I never behaved like this even in films. 132 00:15:10,176 --> 00:15:14,074 And I don't treat anybody else as a "work for hire" 133 00:15:14,209 --> 00:15:17,081 -or a hired musician. -No. 134 00:15:17,217 --> 00:15:21,543 No, I mean, sometimes it's not even how well you play, 135 00:15:21,678 --> 00:15:24,183 it's more are you a good hang? 136 00:15:24,318 --> 00:15:26,047 -You know? -That's right. 137 00:15:26,183 --> 00:15:29,725 There you have it, because there's all this other stuff, 138 00:15:29,861 --> 00:15:32,095 but essentially, at heart, 139 00:15:32,230 --> 00:15:33,928 you've got the soul of a rock musician. 140 00:15:34,063 --> 00:15:35,157 Yeah, exactly! Yeah. 141 00:15:35,292 --> 00:15:38,767 [cheering] 142 00:15:38,902 --> 00:15:40,400 ["Wonder Woman" suite] 143 00:16:23,341 --> 00:16:25,115 [orchestra builds] 144 00:17:07,990 --> 00:17:10,490 [choir enters] 145 00:18:19,864 --> 00:18:21,561 [choir solos] 146 00:18:25,596 --> 00:18:27,633 [orchestra re-enters] 147 00:18:56,693 --> 00:18:58,092 [heavy percussion drops] 148 00:19:06,779 --> 00:19:09,070 [violin solo] 149 00:19:18,758 --> 00:19:20,785 [guitar solo] 150 00:19:34,533 --> 00:19:36,064 [percussion and chant] 151 00:19:58,028 --> 00:19:59,329 [woodwind solo] 152 00:20:01,230 --> 00:20:02,365 [percussion and chant] 153 00:20:15,915 --> 00:20:18,106 [orchestra re-enters] 154 00:21:17,337 --> 00:21:20,139 [cheering] 155 00:21:20,275 --> 00:21:22,236 [choir sings] 156 00:21:35,256 --> 00:21:37,152 [percussion] 157 00:21:40,428 --> 00:21:43,059 [distorted cello solo] 158 00:22:04,649 --> 00:22:06,852 [percussion stops] 159 00:22:30,615 --> 00:22:33,010 [orchestra and electric guitar re-enters] 160 00:23:17,062 --> 00:23:19,529 [vocalist enters] 161 00:24:54,753 --> 00:24:56,824 [choir enters] 162 00:25:19,018 --> 00:25:20,947 [cheering] 163 00:25:32,791 --> 00:25:35,189 -Hans! -Dude... 164 00:25:35,325 --> 00:25:37,660 -Hello! -It's been so long! 165 00:25:37,796 --> 00:25:38,863 Hello, my friend! 166 00:25:38,998 --> 00:25:40,901 -How are you? -I'm good! 167 00:25:41,036 --> 00:25:42,772 We haven't seen you in like four years. 168 00:25:42,908 --> 00:25:44,166 -It's been such a long time. -It's a treat to see you! 169 00:25:44,302 --> 00:25:45,674 I think that's complete bullshit! 170 00:25:45,809 --> 00:25:46,769 I don't think it's been four years. 171 00:25:46,905 --> 00:25:48,436 I think it's been... 172 00:25:48,572 --> 00:25:50,074 Four years ago, we hadn't even written the song. 173 00:25:50,210 --> 00:25:51,547 -Four years ago we had. -Wait, we had. 174 00:25:51,683 --> 00:25:53,476 Four years ago, we had recorded... 175 00:25:53,612 --> 00:25:54,979 -Okay, so it's been four years. -It's been four years. 176 00:25:55,115 --> 00:25:59,254 But luckily we're all still youthful. 177 00:25:59,389 --> 00:26:00,422 You look the same! 178 00:26:00,558 --> 00:26:02,791 This might be the same outfit 179 00:26:02,927 --> 00:26:04,593 I've seen you in it before. You look great! 180 00:26:04,729 --> 00:26:07,496 Look, the reason I wanted to have you 181 00:26:07,632 --> 00:26:09,696 be part of this is because, 182 00:26:09,832 --> 00:26:11,733 the more I started working on 183 00:26:11,868 --> 00:26:14,738 this little documentary or concert film, 184 00:26:14,873 --> 00:26:16,971 the more I realized I actually wanted to make it 185 00:26:17,106 --> 00:26:20,200 about what it's like to be an artist, or what we do. 186 00:26:20,336 --> 00:26:21,544 I loved "Barbie," by the way. 187 00:26:21,679 --> 00:26:23,510 -Oh, thanks. -I truly loved it. 188 00:26:23,645 --> 00:26:25,111 That was a real treat. 189 00:26:25,247 --> 00:26:28,379 That was, you know, an experience that I felt like 190 00:26:28,514 --> 00:26:33,788 we were better equipped for having worked with you. 191 00:26:33,924 --> 00:26:36,793 I think that that was like, you know, 192 00:26:36,928 --> 00:26:39,527 being guided through the Bond experience with you 193 00:26:39,663 --> 00:26:41,059 and learning so much from you, 194 00:26:41,194 --> 00:26:42,733 meant that that experience was like, 195 00:26:42,868 --> 00:26:46,769 "We can implement all of this stuff that we learned." 196 00:26:46,904 --> 00:26:49,739 -Yeah, 100%. -It was directly applicable. 197 00:26:49,875 --> 00:26:51,572 We would never have been able to make that. 198 00:26:51,707 --> 00:26:54,745 To me it was such an example 199 00:26:54,880 --> 00:26:57,272 of how to collaborate in the most effective way. 200 00:26:57,408 --> 00:27:01,110 That was one of the biggest things 201 00:27:01,246 --> 00:27:02,643 I feel like I got from you, 202 00:27:02,778 --> 00:27:09,449 because I was also 17 and new and was very... 203 00:27:09,585 --> 00:27:11,122 just things were exploding around me. 204 00:27:11,257 --> 00:27:13,291 And I was just trying to figure it out. 205 00:27:13,427 --> 00:27:16,297 I think it was hard to know how I was supposed to act 206 00:27:16,433 --> 00:27:17,800 most of the time, 207 00:27:17,935 --> 00:27:21,804 and I think that your being so welcoming to us 208 00:27:21,939 --> 00:27:24,171 and also just being such a good collaborator 209 00:27:24,307 --> 00:27:28,977 was really something that I think all of us learned from, 210 00:27:29,112 --> 00:27:31,515 but I was really at an age where I'm really glad 211 00:27:31,651 --> 00:27:34,045 to have had that experience with you 212 00:27:34,181 --> 00:27:36,346 because I feel like I then took that 213 00:27:36,481 --> 00:27:40,449 and was very inspired by it in my career. 214 00:27:40,584 --> 00:27:43,450 And you didn't make us feel like you felt 215 00:27:43,586 --> 00:27:45,419 like you knew everything about everything 216 00:27:45,555 --> 00:27:46,761 and you're the only one that's right. 217 00:27:46,897 --> 00:27:48,324 -But I know nothing. -That's amazing! 218 00:27:48,459 --> 00:27:51,866 There's a kind of an epidemic of people 219 00:27:52,002 --> 00:27:53,667 that think that they know everything, 220 00:27:53,803 --> 00:27:56,104 especially in, I think music. 221 00:27:56,240 --> 00:27:58,937 You said something really interesting, because it's true. 222 00:27:59,072 --> 00:28:00,434 There are so many people who think 223 00:28:00,570 --> 00:28:02,842 they know everything about music, 224 00:28:02,978 --> 00:28:05,045 and if you really think about that, 225 00:28:05,180 --> 00:28:07,350 all they know is about yesterday's music. 226 00:28:07,485 --> 00:28:08,851 -Yeah. -Right. 227 00:28:08,987 --> 00:28:12,121 You know, they are actually putting up a wall 228 00:28:12,257 --> 00:28:14,682 to not have the imagination of doing something new, you know? 229 00:28:14,818 --> 00:28:19,829 Yeah. It's just really hard to know that something 230 00:28:19,965 --> 00:28:23,065 that you made has such an impact on someone. 231 00:28:23,201 --> 00:28:27,899 Even if someone tells you, it's really hard to process. 232 00:28:28,035 --> 00:28:31,369 And also for you, you love it, 233 00:28:31,504 --> 00:28:34,274 but you're doing your job, and so, you know... 234 00:28:34,410 --> 00:28:38,076 "Pirates of the Caribbean," you're just like making... 235 00:28:38,212 --> 00:28:40,215 -Pirate music! -Pirate music, man! 236 00:28:40,350 --> 00:28:43,645 You just do it, but for us, it's like our whole childhood! 237 00:28:43,780 --> 00:28:46,155 I wrote those tunes... I just dashed them out! 238 00:28:46,290 --> 00:28:49,187 How do you decide what you want to play on each song live, 239 00:28:49,322 --> 00:28:51,287 because you play most of everything 240 00:28:51,423 --> 00:28:52,594 often when you're recording it, right? 241 00:28:52,729 --> 00:28:54,460 So you cherry-pick, you go, 242 00:28:54,595 --> 00:28:56,556 "This was the most fun part to play, I'm going to play guitar." 243 00:28:56,692 --> 00:28:58,702 How did you choose what instrument 244 00:28:58,838 --> 00:29:01,266 -you were going to play? -Pretty much that! 245 00:29:04,575 --> 00:29:06,140 You know how it is, 246 00:29:06,276 --> 00:29:11,081 being a keyboard player is, sort of, slightly boring, 247 00:29:11,216 --> 00:29:16,751 but getting the guitar out, plugging it in, turning it up, 248 00:29:16,886 --> 00:29:19,413 it's a weapon of mass destruction 249 00:29:19,548 --> 00:29:20,888 in the best possible way. 250 00:29:21,024 --> 00:29:22,759 -Do you know what I mean? -Oh, yeah. 251 00:29:22,894 --> 00:29:24,727 It's like, ooh, if you're going to do this, 252 00:29:24,862 --> 00:29:26,920 you might as well go all the way. 253 00:29:27,055 --> 00:29:31,262 I on purpose have this, not a grand piano on stage. 254 00:29:31,397 --> 00:29:35,701 On purpose have this little upright, 255 00:29:35,837 --> 00:29:39,335 out of tune, humble, 256 00:29:39,471 --> 00:29:41,634 because I hate the pretentiousness 257 00:29:41,770 --> 00:29:45,143 of the conductor or the film composer, 258 00:29:45,279 --> 00:29:46,875 all that stuff that goes into it. 259 00:29:47,010 --> 00:29:48,113 True. 260 00:29:48,249 --> 00:29:49,411 To be honest, one of the things I was 261 00:29:49,547 --> 00:29:51,314 the most worried about ever writing 262 00:29:51,450 --> 00:29:53,483 was "Man of Steel," because Superman. 263 00:29:53,618 --> 00:29:55,653 I mean who isn't worried about writing "Superman." 264 00:29:55,788 --> 00:30:00,156 And then I suddenly realized actually that the foundation, 265 00:30:00,291 --> 00:30:02,063 the basis of the story was, 266 00:30:02,198 --> 00:30:04,461 it was this man who could never become human, 267 00:30:04,596 --> 00:30:06,667 and all he wanted to do was be Clark Kent, 268 00:30:06,803 --> 00:30:09,935 be on his farm, et cetera. 269 00:30:10,070 --> 00:30:12,039 So, the humbleness of that piano 270 00:30:12,174 --> 00:30:14,172 seemed to be like the right thing to go 271 00:30:14,308 --> 00:30:16,573 and write something about a Superman 272 00:30:16,708 --> 00:30:19,344 who really just wants to fight his own humanity. 273 00:30:23,483 --> 00:30:25,548 ["What Are You Going to Do When You Are 274 00:30:25,683 --> 00:30:27,385 Not Saving the World?" from "Man of Steel] 275 00:31:14,836 --> 00:31:17,534 [orchestra enters] 276 00:32:32,441 --> 00:32:36,646 [orchestra builds] 277 00:32:56,136 --> 00:32:59,438 [orchestra softens] 278 00:34:01,806 --> 00:34:05,042 [electric guitar solo] 279 00:34:49,588 --> 00:34:53,084 [cheering] 280 00:34:53,219 --> 00:34:54,724 [percussion plays] 281 00:34:54,859 --> 00:34:55,983 ["Man of Steel Suite"] 282 00:35:04,659 --> 00:35:08,765 [orchestra enters] 283 00:35:16,210 --> 00:35:19,644 [electric guitar enters] 284 00:36:47,202 --> 00:36:49,635 [electric guitar solo] 285 00:38:34,076 --> 00:38:37,347 [cheering] 286 00:38:39,412 --> 00:38:40,944 [man shouting] 287 00:38:45,152 --> 00:38:47,020 That one! 288 00:38:47,155 --> 00:38:50,085 [cheering] 289 00:38:51,392 --> 00:38:53,462 Ladies and gentlemen, 290 00:38:56,935 --> 00:38:58,462 I can say this... 291 00:38:58,598 --> 00:39:00,160 I think I can say this, 292 00:39:00,295 --> 00:39:03,505 and I wonder if the band agrees with me. 293 00:39:03,641 --> 00:39:07,706 He won't agree with me, but then he's wrong. 294 00:39:07,841 --> 00:39:09,576 Ladies and gentlemen, Guthrie Govan, 295 00:39:09,711 --> 00:39:11,242 the greatest guitarist in the world. 296 00:39:11,377 --> 00:39:13,548 [cheering] 297 00:39:15,251 --> 00:39:19,554 And on top of that, 298 00:39:19,689 --> 00:39:22,324 one of the truly most gentle and beautiful 299 00:39:22,460 --> 00:39:24,893 human beings that I know. I love him. 300 00:39:25,028 --> 00:39:26,693 [cheering] 301 00:39:33,628 --> 00:39:38,234 The next thing we're going to do is an antique piece. 302 00:39:38,370 --> 00:39:40,677 What do you say, Nick, would you agree with me on that? 303 00:39:40,812 --> 00:39:42,110 Yeah. 304 00:39:42,245 --> 00:39:45,375 It's from Roman times. 305 00:39:45,510 --> 00:39:49,810 [cheering] 306 00:39:49,945 --> 00:39:51,711 It's not "Gladiator!" 307 00:39:51,846 --> 00:39:54,013 [laughing] 308 00:39:54,149 --> 00:39:55,990 I'm lying, it is "Gladiator!" 309 00:39:56,125 --> 00:39:58,692 [cheering] 310 00:40:05,268 --> 00:40:06,865 ["Gladiator Suite"] 311 00:40:30,027 --> 00:40:32,825 [woodwind plays] 312 00:41:21,706 --> 00:41:24,140 [orchestra enters] 313 00:42:11,559 --> 00:42:14,190 [acoustic guitars enter] 314 00:42:56,966 --> 00:42:59,708 [tempo slows] 315 00:43:57,026 --> 00:44:01,495 [tempo increases] 316 00:44:35,966 --> 00:44:39,137 [tempo builds] 317 00:44:59,593 --> 00:45:02,490 [chanting] 318 00:45:43,233 --> 00:45:46,941 [orchestra builds intensity] 319 00:47:06,624 --> 00:47:09,749 [distorted bass enters] 320 00:47:39,754 --> 00:47:44,520 [soloist sings] 321 00:49:04,707 --> 00:49:07,900 [orchestra builds] 322 00:49:36,904 --> 00:49:39,503 [choir enters] 323 00:50:43,498 --> 00:50:45,074 [percussion plays] 324 00:51:11,492 --> 00:51:14,499 [vocalist sings] 325 00:52:37,953 --> 00:52:39,848 [chorus sings] 326 00:53:09,016 --> 00:53:13,750 [vocalist sings] 327 00:54:49,952 --> 00:54:52,321 [cheering] 328 00:55:01,065 --> 00:55:02,826 Ladies and gentlemen... 329 00:55:04,265 --> 00:55:06,599 Lisa, don't run off! 330 00:55:07,661 --> 00:55:09,034 Lisa! 331 00:55:09,169 --> 00:55:10,466 [cheering] 332 00:55:10,601 --> 00:55:12,033 Come up, get up there. 333 00:55:14,804 --> 00:55:16,444 Step... Get into the light. 334 00:55:18,178 --> 00:55:19,913 All right. 335 00:55:20,048 --> 00:55:21,449 [cheering] 336 00:55:25,821 --> 00:55:29,285 Ladies and gentlemen, the incredible Lisa Gerrard! 337 00:55:29,420 --> 00:55:32,988 [cheering] 338 00:55:40,269 --> 00:55:42,462 What are we doing next? 339 00:55:42,597 --> 00:55:45,040 Oh, I tell you what, I tell you what, I have an idea here. 340 00:55:45,175 --> 00:55:47,474 I might be completely wrong, 341 00:55:47,610 --> 00:55:49,803 but we were all told we're not supposed 342 00:55:49,938 --> 00:55:52,377 to take any photos, right? 343 00:55:52,513 --> 00:55:55,884 So, let's just take a moment, 344 00:55:56,020 --> 00:55:57,786 whip out our phones! 345 00:55:57,921 --> 00:55:59,646 [cheering] 346 00:55:59,782 --> 00:56:01,889 Come on! Go for it! 347 00:56:02,025 --> 00:56:03,359 Don't be shy! 348 00:56:06,891 --> 00:56:09,156 I'm having you, you're having me! 349 00:56:11,132 --> 00:56:14,834 [cheering] 350 00:56:14,970 --> 00:56:17,369 I don't know what my career would be like without you. 351 00:56:17,504 --> 00:56:18,868 I think I wouldn't be in it. 352 00:56:19,003 --> 00:56:21,210 I don't know what my career would be... 353 00:56:21,345 --> 00:56:22,641 I wouldn't be in this game anymore, 354 00:56:22,776 --> 00:56:24,070 I'd be selling real estate somewhere. 355 00:56:24,205 --> 00:56:25,544 Well, here's the interesting thing, 356 00:56:25,680 --> 00:56:28,077 and it goes both ways, of course. 357 00:56:28,212 --> 00:56:30,810 So you gave me my first big break in America, 358 00:56:30,945 --> 00:56:34,047 so it's been a while that 359 00:56:34,183 --> 00:56:35,752 we're still speaking to each other, 360 00:56:35,888 --> 00:56:36,849 you know, which just goes to show. 361 00:56:36,984 --> 00:56:37,925 Been a lot of movies. 362 00:56:38,060 --> 00:56:39,360 A lot of movies, 363 00:56:39,496 --> 00:56:41,628 and one huge role you had in my life is... 364 00:56:41,763 --> 00:56:45,098 when the going got tough and everybody was bailing 365 00:56:45,234 --> 00:56:46,898 and everybody was going, 366 00:56:47,033 --> 00:56:49,130 "I'm going home now, I can't handle it anymore," 367 00:56:49,266 --> 00:56:52,536 you'd stay, you'd stay by my side, you know, 368 00:56:52,672 --> 00:56:54,036 at four o'clock in the morning 369 00:56:54,171 --> 00:56:58,036 and help get through these sort of, you know, 370 00:56:58,171 --> 00:57:00,009 the unanswerable questions. 371 00:57:00,144 --> 00:57:04,749 I think that shows a degree of friendship 372 00:57:04,884 --> 00:57:07,521 that goes so way beyond professionalism. 373 00:57:07,657 --> 00:57:10,555 And a degree of caring about somebody. 374 00:57:10,691 --> 00:57:13,388 -And you didn't fire me. -Never. 375 00:57:13,523 --> 00:57:16,491 I have an enormous amount of patience for talented people, 376 00:57:16,626 --> 00:57:20,932 and when you're making a movie, it's like watching paint dry. 377 00:57:21,067 --> 00:57:25,932 You do two minutes a day and it goes on for months, 378 00:57:26,068 --> 00:57:28,200 and then you come to the point 379 00:57:28,335 --> 00:57:30,270 where you start to edit the movie 380 00:57:30,405 --> 00:57:32,075 and you put these layers on it, the sound effects, 381 00:57:32,210 --> 00:57:36,375 all these different things that make it come alive. 382 00:57:36,510 --> 00:57:39,755 But the most important thing is the music, 383 00:57:39,890 --> 00:57:42,689 and look, you're the greatest living composer in my mind. 384 00:57:42,824 --> 00:57:47,089 But I didn't know I would get there, you know. 385 00:57:47,225 --> 00:57:49,623 Together we make this music and this movie. 386 00:57:49,759 --> 00:57:51,766 It's not just me. 387 00:57:51,902 --> 00:57:54,798 It's like we're absolutely working together on things. 388 00:57:54,934 --> 00:57:58,938 I think my experience with you is that 389 00:57:59,074 --> 00:58:02,076 you have to be in a lot of pain to write something great. 390 00:58:02,211 --> 00:58:03,477 Yes, it's that! 391 00:58:03,612 --> 00:58:07,012 And unless there's a total deadline 392 00:58:07,148 --> 00:58:10,685 and you've been up for 48 hours and you've been drinking, 393 00:58:10,820 --> 00:58:13,622 I don't know how many pots of coffee, then it hits. 394 00:58:13,757 --> 00:58:16,818 The more pressure, the better the score, always. 395 00:58:16,953 --> 00:58:19,187 I just remember winning an Oscar 396 00:58:19,322 --> 00:58:21,859 and coming in after not sleeping all night 397 00:58:21,995 --> 00:58:23,792 and coming in for a meeting with you, 398 00:58:23,927 --> 00:58:26,999 Don and Tony at ten o'clock, 399 00:58:27,135 --> 00:58:29,867 looking a little bleary-eyed and playing you this thing, 400 00:58:30,002 --> 00:58:31,540 and you don't mention the Oscar at all, 401 00:58:31,675 --> 00:58:33,835 and I just go, "I'll play you the piece of music," 402 00:58:33,970 --> 00:58:36,977 and you guys go "It's shit!" 403 00:58:37,112 --> 00:58:39,709 And back to reality, because it was always about the work, 404 00:58:39,845 --> 00:58:41,172 it wasn't about anything else. 405 00:58:41,308 --> 00:58:43,016 Always, it's always the work. 406 00:58:43,152 --> 00:58:45,520 Don always used to say we're in the transportation business, 407 00:58:45,656 --> 00:58:47,252 we transport you from one place to another. 408 00:58:47,387 --> 00:58:48,822 Absolutely! 409 00:58:48,957 --> 00:58:50,248 The score of the movie is really the heartbeat 410 00:58:50,383 --> 00:58:52,253 of the film, it really is. 411 00:58:52,388 --> 00:58:55,496 It's the emotion that we want the audience 412 00:58:55,632 --> 00:58:57,890 to feel from every single scene, 413 00:58:58,026 --> 00:59:01,470 and if you get it right, 414 00:59:01,605 --> 00:59:02,866 you have something really successful. 415 00:59:03,002 --> 00:59:06,301 And sometimes you'll hear a melody 416 00:59:06,436 --> 00:59:12,006 like "Pirates," and you say, "We've got a hit movie." 417 00:59:12,141 --> 00:59:13,880 We take this piece of score and 418 00:59:14,016 --> 00:59:16,247 we've got to get everything else right, of course, 419 00:59:16,382 --> 00:59:20,247 but when you take that, it makes the character come alive. 420 00:59:20,383 --> 00:59:23,615 It shows the levity of this character. 421 00:59:23,750 --> 00:59:26,859 And if you take that music, yeah, it could be goofy, 422 00:59:26,994 --> 00:59:29,225 Johnny's playing this kind of goofy character, 423 00:59:29,360 --> 00:59:33,865 but when you hear the music, it makes him heroic, 424 00:59:34,000 --> 00:59:37,433 it makes him fun, it makes him mischievous, 425 00:59:37,568 --> 00:59:40,366 which is everything that that character it supposed to be, 426 00:59:40,501 --> 00:59:42,236 and how it carries through the movie. 427 00:59:42,371 --> 00:59:45,109 "Pirates" was fun, "Pirates" I loved. 428 00:59:45,245 --> 00:59:48,279 Well, you came in and saved our life on that one. 429 00:59:48,415 --> 00:59:53,211 We had a previous composer, and it just didn't work at all. 430 00:59:53,346 --> 00:59:55,450 And I was really frustrated. 431 00:59:55,586 --> 00:59:59,217 Yes, some movies are really difficult to find the tone, 432 00:59:59,353 --> 01:00:01,193 and "Pirates" was that movie. 433 01:00:01,328 --> 01:00:02,620 Yeah. 434 01:00:02,756 --> 01:00:05,026 But you came in and you wrote that melody... 435 01:00:05,162 --> 01:00:06,792 -In one night. -In one night. 436 01:00:06,927 --> 01:00:09,199 -All the themes in one night. -And it blew everybody away. 437 01:00:09,335 --> 01:00:14,236 I just played you things, and you went, "Great, let's go!" 438 01:00:14,371 --> 01:00:17,646 It was one of the most terrific experiences. 439 01:00:17,781 --> 01:00:20,105 You know, they are all written with blood, 440 01:00:20,241 --> 01:00:21,847 it's as simple as that! 441 01:00:21,982 --> 01:00:23,578 There you go, that's the true story. 442 01:00:23,713 --> 01:00:24,580 Yeah. 443 01:00:24,716 --> 01:00:27,181 [accordion plays] 444 01:00:27,317 --> 01:00:28,624 ["Pirate of the Caribbean" suite] 445 01:00:31,624 --> 01:00:33,420 [cello enters] 446 01:01:08,793 --> 01:01:11,524 [orchestra enters] 447 01:01:44,831 --> 01:01:47,362 [violin and cello duet] 448 01:01:52,903 --> 01:01:55,370 [orchestra enters] 449 01:03:55,663 --> 01:03:57,789 [choir enters] 450 01:04:35,968 --> 01:04:37,400 [glockenspiel solo] 451 01:05:12,168 --> 01:05:14,833 [woodwinds enter] 452 01:05:48,402 --> 01:05:51,738 [orchestra enters] 453 01:07:37,754 --> 01:07:40,220 [orchestra crescendos] 454 01:10:09,268 --> 01:10:12,207 [electric guitar enters] 455 01:11:33,956 --> 01:11:36,423 [tempo increases] 456 01:12:40,183 --> 01:12:42,647 ["Main Theme" from "Pirates of the Caribbean"] 457 01:12:42,782 --> 01:12:45,052 [cheering] 458 01:13:41,083 --> 01:13:42,780 [choir enters] 459 01:13:59,793 --> 01:14:02,129 [cheering] 460 01:14:07,375 --> 01:14:11,077 Ladies and gentlemen... 461 01:14:11,212 --> 01:14:13,514 she is amazing! 462 01:14:14,613 --> 01:14:17,049 And so are all of them! 463 01:14:17,184 --> 01:14:18,486 [cheering] 464 01:14:23,124 --> 01:14:25,222 Good crowd! 465 01:14:25,357 --> 01:14:27,220 [cheering] 466 01:14:38,064 --> 01:14:39,397 ["The Dark Knight Suite"] 467 01:15:11,130 --> 01:15:13,398 [electronic music plays] 468 01:15:26,782 --> 01:15:28,479 [drums enter] 469 01:16:13,335 --> 01:16:15,361 [intensity increases] 470 01:18:44,287 --> 01:18:46,083 [violins solo] 471 01:18:57,398 --> 01:19:03,067 [bass plays] 472 01:19:06,508 --> 01:19:08,875 [orchestra re-enters] 473 01:19:19,585 --> 01:19:21,822 [cheering] 474 01:19:31,157 --> 01:19:34,593 [cheering] 475 01:19:39,341 --> 01:19:41,699 [bass solo] 476 01:19:51,420 --> 01:19:53,084 [violin solo] 477 01:20:09,569 --> 01:20:12,466 [cheering] 478 01:20:30,624 --> 01:20:35,654 [percussion solo] 479 01:20:49,741 --> 01:20:52,275 [cheering] 480 01:21:00,512 --> 01:21:02,923 [orchestra re-enters] 481 01:21:18,971 --> 01:21:21,271 [percussion and piano solo] 482 01:21:32,885 --> 01:21:35,516 [orchestra re-enters] 483 01:22:30,908 --> 01:22:35,411 [cheering] 484 01:22:53,696 --> 01:22:56,136 I just wanted to tell you a quick story. 485 01:22:56,272 --> 01:22:58,905 I just wanted to tell you a quick story about Batman. 486 01:22:59,041 --> 01:23:02,271 You know, we did three Batman movies 487 01:23:02,407 --> 01:23:03,834 and to you it was like three movies, 488 01:23:03,969 --> 01:23:06,673 to us it was 12 years of our lives, 489 01:23:06,808 --> 01:23:09,982 and a lot of things happened in that time. 490 01:23:10,118 --> 01:23:13,611 Joy and tragedy, all mixed together, 491 01:23:13,747 --> 01:23:15,713 you know, the extremes of life, 492 01:23:15,849 --> 01:23:18,322 and I think that's why I do music, 493 01:23:18,458 --> 01:23:20,894 because sometimes I can say things in music 494 01:23:21,030 --> 01:23:23,221 that I just can't say in words. 495 01:23:23,356 --> 01:23:25,956 [cheering] 496 01:23:29,699 --> 01:23:33,003 -You and I, we truly go back. -Yeah, oh, yeah. 497 01:23:33,139 --> 01:23:34,634 When I landed "Interstellar," 498 01:23:34,769 --> 01:23:37,008 that was truly my favorite director. 499 01:23:37,143 --> 01:23:39,209 "The Dark Knight" was a film 500 01:23:39,344 --> 01:23:42,139 that made me want to act, period. 501 01:23:42,275 --> 01:23:45,149 It's a score I refer to constantly in "Dune: Part Two," 502 01:23:45,285 --> 01:23:47,279 particularly the "Why So Serious?" theme, 503 01:23:47,415 --> 01:23:48,947 and sort of the opening. 504 01:23:49,082 --> 01:23:53,186 I don't know what that noise is of that shrill... 505 01:23:53,322 --> 01:23:56,393 I know. It's a cello 506 01:23:56,528 --> 01:23:59,560 and I always thought when I made him do it, 507 01:23:59,696 --> 01:24:01,858 his parents paid a lot of money for him 508 01:24:01,994 --> 01:24:03,568 to learn how to play beautifully. 509 01:24:03,703 --> 01:24:05,537 Yeah. 510 01:24:05,673 --> 01:24:08,669 -You know, and I'm making him... -It's that arduous noise, yeah! 511 01:24:08,804 --> 01:24:12,869 I know. It actually took a while, because... 512 01:24:13,005 --> 01:24:16,077 He was... I could always hear him act. 513 01:24:16,213 --> 01:24:17,246 Do you know what I mean? 514 01:24:17,382 --> 01:24:19,045 -The cellist? -The cellist. 515 01:24:19,180 --> 01:24:22,616 I could always hear him, like, "I have to be the bad guy," 516 01:24:22,751 --> 01:24:24,449 and then I actually wrote something 517 01:24:24,584 --> 01:24:26,390 which was so complicated, 518 01:24:26,526 --> 01:24:29,219 to really like just completely exhaust him. 519 01:24:29,355 --> 01:24:34,927 Then, sort of, very late at night, when he was a broken man, 520 01:24:35,062 --> 01:24:37,295 I said, "Okay, just have one more go at this thing," 521 01:24:37,430 --> 01:24:38,897 and that was it! 522 01:24:39,033 --> 01:24:41,867 Wow! Wow! That's what made it into the film? 523 01:24:42,002 --> 01:24:43,338 Yeah, because that noise is so piercing, 524 01:24:43,473 --> 01:24:45,772 but it's something, you know, 525 01:24:45,908 --> 01:24:48,007 on "Dune: Part Two" helped me tremendously. 526 01:24:48,143 --> 01:24:52,914 I also feel that your music carries across generations 527 01:24:53,050 --> 01:24:57,283 and it doesn't have that pop music classification, you know? 528 01:24:57,419 --> 01:24:58,724 Yes, it's a weird thing. 529 01:24:58,860 --> 01:25:00,258 It's a weird thing. 530 01:25:00,394 --> 01:25:02,225 That's why I love revisiting your scores, 531 01:25:02,361 --> 01:25:04,388 or Maurice Jarre, John Williams, 532 01:25:04,523 --> 01:25:07,126 because it interacts with your body in a way that you don't... 533 01:25:07,262 --> 01:25:09,695 I love The Beatles, and I love Bob Dylan, the Rolling Stones, 534 01:25:09,831 --> 01:25:13,336 but it brings you to a time and place. 535 01:25:13,472 --> 01:25:14,907 When I listen to "Lawrence of Arabia," 536 01:25:15,043 --> 01:25:18,343 or "Gladiator," it's timeless, 537 01:25:18,479 --> 01:25:21,341 and I revisited it in the "Gladiator" film. 538 01:25:21,477 --> 01:25:23,315 I love the "To Zucchabar," 539 01:25:23,450 --> 01:25:25,276 if I'm pronouncing it correctly, theme in that. 540 01:25:25,411 --> 01:25:28,287 That's something I refer to a lot on "Dune: Two" as well, 541 01:25:28,422 --> 01:25:29,688 because it helped me feeling like a foreigner 542 01:25:29,824 --> 01:25:31,423 as Paul Atreides, 543 01:25:31,559 --> 01:25:34,855 entering this land of the Fremen, I would play that theme. 544 01:25:34,990 --> 01:25:38,659 I saw Paul Mescal who is playing the new "Gladiator," 545 01:25:38,795 --> 01:25:40,692 and I told him "To Zucchabar," track 6 546 01:25:40,828 --> 01:25:42,726 on "Gladiator" on the album, 547 01:25:42,862 --> 01:25:44,565 you've got to reference that. 548 01:25:44,701 --> 01:25:46,102 For some reason, that song moves me. 549 01:25:46,237 --> 01:25:47,903 "Dune" is very different. 550 01:25:48,038 --> 01:25:50,104 "Part Two" is much different because we do that love theme. 551 01:25:50,239 --> 01:25:52,675 Even the way the movie ends, I said to Denis, I was surprised, 552 01:25:52,810 --> 01:25:54,643 I said, "You didn't end on the Atreides theme, 553 01:25:54,778 --> 01:25:56,482 "and you ended on the love theme," you know. 554 01:25:56,618 --> 01:25:58,179 Yes. 555 01:25:58,315 --> 01:26:00,514 But, okay, hang on. 556 01:26:00,649 --> 01:26:04,488 So the secret of the love theme... 557 01:26:04,623 --> 01:26:09,587 is actually in the first movie, the bagpipes. 558 01:26:09,722 --> 01:26:10,921 Remember the bagpipes? 559 01:26:11,057 --> 01:26:12,494 The bagpipes, the man with the... 560 01:26:12,630 --> 01:26:15,534 Yes, it's that theme, much slower. 561 01:26:15,670 --> 01:26:17,829 Wow! 562 01:26:17,965 --> 01:26:19,333 The first one, I struggled with... 563 01:26:19,468 --> 01:26:21,332 Well, not struggled with, 564 01:26:21,468 --> 01:26:24,342 but the rhythm of the movie was challenging for me to find. 565 01:26:24,477 --> 01:26:25,879 It's really difficult. I understand. 566 01:26:26,014 --> 01:26:27,744 -I so understand. -Yeah. 567 01:26:27,880 --> 01:26:30,876 I sort of had the same problem. I had the same problem. 568 01:26:31,012 --> 01:26:32,681 It's actually interesting to hear you say 569 01:26:32,816 --> 01:26:35,353 -you struggled with it, too. -Oh, constantly. 570 01:26:35,488 --> 01:26:40,151 And Joe Walker, our editor, Joe and I... 571 01:26:40,286 --> 01:26:44,160 The first time Joe and I worked together was in 1988. 572 01:26:44,295 --> 01:26:45,692 What project was that? 573 01:26:45,828 --> 01:26:47,700 It was a BBC thing, I got fired off. 574 01:26:47,835 --> 01:26:49,399 Okay, right. 575 01:26:49,535 --> 01:26:50,998 Joe and I worked on "12 Years a Slave"... 576 01:26:51,134 --> 01:26:52,964 Wow! 577 01:26:53,099 --> 01:26:56,174 Which is again, it is a film that has 578 01:26:56,310 --> 01:26:59,543 a really individualistic rhythm, 579 01:26:59,679 --> 01:27:02,805 where shots are held really long, you know, 580 01:27:02,941 --> 01:27:05,547 and to have the courage... 581 01:27:05,683 --> 01:27:08,522 "Dune," did you find that as well, 582 01:27:08,657 --> 01:27:12,692 that partly these people have the courage to hold a shot? 583 01:27:12,828 --> 01:27:14,084 Yeah, absolutely. 584 01:27:14,219 --> 01:27:16,755 And so you have to have the courage 585 01:27:16,890 --> 01:27:18,463 to play the scene to the very end. 586 01:27:18,598 --> 01:27:20,762 Exactly, and it's something I'm very proud of 587 01:27:20,898 --> 01:27:23,599 in "Dune: Part Two," the shots that do hold. 588 01:27:23,734 --> 01:27:24,761 where I'm not filled in the editing, 589 01:27:24,897 --> 01:27:26,238 okay, there's a wide here, 590 01:27:26,373 --> 01:27:27,967 and they edit it out of it quickly, 591 01:27:28,103 --> 01:27:29,604 and there's another wide, and they edit it quickly. 592 01:27:29,740 --> 01:27:32,312 One of the things I loved about Denis, 593 01:27:32,447 --> 01:27:34,308 and I think you probably felt the same thing, 594 01:27:34,444 --> 01:27:36,282 and the same with Chris, 595 01:27:36,418 --> 01:27:40,278 you can start a sentence off by going, 596 01:27:40,414 --> 01:27:43,290 "This is probably the most stupid idea you ever heard, 597 01:27:43,425 --> 01:27:46,623 but I'd love to try," duh, duh, duh, duh, duh. 598 01:27:46,758 --> 01:27:50,086 And they go for it and they support you, 599 01:27:50,222 --> 01:27:53,089 even if it's a bit clumsy at first. 600 01:27:53,225 --> 01:27:55,365 I feel the exact same way as an actor. 601 01:27:55,500 --> 01:27:58,402 I feel they are huge filmmakers 602 01:27:58,537 --> 01:28:00,636 with an Indie-minded sensibility. 603 01:28:00,772 --> 01:28:02,741 Absolutely! That's the thing, you know. 604 01:28:02,876 --> 01:28:04,539 Yeah. 605 01:28:04,674 --> 01:28:06,605 I never thought about it that way, 606 01:28:06,741 --> 01:28:08,271 but that is exactly it. 607 01:28:08,406 --> 01:28:12,552 And I think, you and I, we're really lucky 608 01:28:12,688 --> 01:28:17,424 because we got to be part of two tremendous movies, you know, 609 01:28:17,559 --> 01:28:21,521 and we got to work with the two best directors 610 01:28:21,656 --> 01:28:24,021 around at the moment. 611 01:28:24,157 --> 01:28:28,464 And the two people who get to work 612 01:28:28,600 --> 01:28:30,832 with both of them, you and I! 613 01:28:30,967 --> 01:28:34,140 -Hey, it could be worse. -It could be worse. 614 01:28:34,275 --> 01:28:35,874 It could be a lot worse. Yeah. 615 01:28:36,009 --> 01:28:38,037 [cheering] 616 01:28:44,582 --> 01:28:46,111 ["X-MDP" from "Dark Phoenix"] 617 01:28:47,813 --> 01:28:50,148 [soloist sings] 618 01:29:03,796 --> 01:29:07,264 [orchestra enters] 619 01:30:13,240 --> 01:30:15,332 [singer vocalizing] 620 01:31:48,532 --> 01:31:50,460 [singer chanting] 621 01:31:56,143 --> 01:31:57,511 [choir chanting] 622 01:32:56,270 --> 01:32:59,903 [choir singing] 623 01:34:04,799 --> 01:34:06,900 [cheering] 624 01:34:07,036 --> 01:34:09,506 ["Supermarine" from "Dunkirk"] 625 01:34:09,642 --> 01:34:12,437 [plane engines roaring] 626 01:34:24,953 --> 01:34:28,123 [orchestra playing] 627 01:36:18,999 --> 01:36:22,809 [cheering] 628 01:36:33,686 --> 01:36:36,488 Let's talk about failure. 629 01:36:36,624 --> 01:36:37,922 It's my favorite thing! 630 01:36:38,057 --> 01:36:40,026 What is your relationship with failure? 631 01:36:40,162 --> 01:36:45,756 Failure is my favorite teacher, it's the best teacher. 632 01:36:45,892 --> 01:36:50,665 You have no idea how many pieces of music you didn't hear. 633 01:36:50,800 --> 01:36:52,529 [laughing] 634 01:36:52,665 --> 01:36:54,799 Let me give you my favorite example. 635 01:36:54,935 --> 01:36:59,474 The opening of Beethoven's Fifth Symphony, "da da da-da". 636 01:36:59,610 --> 01:37:03,375 Every kid walks pass the piano and goes "da da da-da," 637 01:37:03,511 --> 01:37:06,381 but nobody other than Beethoven knew 638 01:37:06,516 --> 01:37:11,082 that this really simple, idiotically simple phrase, 639 01:37:11,218 --> 01:37:13,424 could create such magic, 640 01:37:13,559 --> 01:37:17,987 but then, you know, when you go to Beethoven's Ninth Symphony, 641 01:37:18,122 --> 01:37:22,695 he spent 25 years failing trying to write it, you know. 642 01:37:22,830 --> 01:37:27,530 So, there was a lot of failure going on to get there. 643 01:37:27,665 --> 01:37:30,602 For me, the power of music is that 644 01:37:30,738 --> 01:37:35,110 I can hear two bars of the theme from "Dune Two" 645 01:37:35,245 --> 01:37:37,007 and I will feel that same emotion 646 01:37:37,142 --> 01:37:39,642 that I feel after having watched the two and a half hour movie. 647 01:37:39,778 --> 01:37:41,719 I feel the same way about "Inception" 648 01:37:41,855 --> 01:37:43,855 and the music on the spinner. 649 01:37:43,991 --> 01:37:45,386 I don't need to watch the whole movie, 650 01:37:45,521 --> 01:37:48,324 that I'm brought in with just a few notes 651 01:37:48,459 --> 01:37:50,256 and it goes right into your heart and it's visceral. 652 01:37:50,392 --> 01:37:51,861 You see, I didn't want to say that, 653 01:37:51,997 --> 01:37:53,527 I didn't want to mention this 654 01:37:53,662 --> 01:37:56,002 because it's sort of unfair to my friend Denis, 655 01:37:56,137 --> 01:37:58,595 but you see, you have to go out into the desert, 656 01:37:58,731 --> 01:38:00,236 you have to spend forever shooting things, 657 01:38:00,371 --> 01:38:03,333 and you have to forever edit it, and... 658 01:38:03,469 --> 01:38:05,373 And what I can do with, 659 01:38:05,509 --> 01:38:07,747 let's use Beethoven's Fifth again, you know, 660 01:38:07,883 --> 01:38:11,816 all you have to do is "da da da-da!" 661 01:38:11,952 --> 01:38:14,514 -That bastard! -You know, right? 662 01:38:17,990 --> 01:38:20,157 So, that's the power of music! 663 01:38:20,292 --> 01:38:24,189 I was against music for a long period of time 664 01:38:24,324 --> 01:38:27,360 because it's so powerful. 665 01:38:27,496 --> 01:38:29,362 The first thing that is most important 666 01:38:29,498 --> 01:38:31,599 is relationship with the composer, 667 01:38:31,735 --> 01:38:37,737 how you will find someone that will be there as a partner 668 01:38:37,873 --> 01:38:43,981 that will listen seriously deeply to your inner intentions, 669 01:38:44,117 --> 01:38:46,610 because it needs to be like a dance, too, 670 01:38:46,746 --> 01:38:49,279 because it's a very dangerous animal! 671 01:38:49,415 --> 01:38:52,756 By us both being honest, 672 01:38:52,892 --> 01:38:54,387 we can create something 673 01:38:54,523 --> 01:38:56,952 which creates an experience for people. 674 01:38:57,088 --> 01:38:58,964 Experience, but also specifically with you, 675 01:38:59,100 --> 01:39:04,136 can bring a perspective or a counterpoint 676 01:39:04,271 --> 01:39:08,237 that brings another meaning on what's happening, 677 01:39:08,373 --> 01:39:11,106 like for instance, in "Blade Runner," 678 01:39:11,241 --> 01:39:13,141 when the composer that composed 679 01:39:13,276 --> 01:39:15,978 the action music over a sequence, 680 01:39:16,114 --> 01:39:18,951 and we were like, "It's good, 681 01:39:19,086 --> 01:39:21,382 "but it's just the music is obvious, 682 01:39:21,518 --> 01:39:23,146 "the music is just telling us something 683 01:39:23,281 --> 01:39:26,388 "that is already in the image and it brings nothing more." 684 01:39:26,523 --> 01:39:29,156 You came with the idea to bring back the suite, 685 01:39:29,292 --> 01:39:31,120 that was something you said... 686 01:39:31,256 --> 01:39:35,296 "It's very simple if you put that very passionate music 687 01:39:35,432 --> 01:39:37,236 "on top of what's happening right now, 688 01:39:37,371 --> 01:39:39,636 "what it will create is that we will understand that 689 01:39:39,771 --> 01:39:43,273 "all these characters know that they are going towards death. 690 01:39:43,408 --> 01:39:48,179 "It's inevitable, but still they are going forward 691 01:39:48,314 --> 01:39:50,779 and it becomes a tragedy, they will all die!" 692 01:39:50,914 --> 01:39:52,310 [laughing] 693 01:39:52,446 --> 01:39:54,683 That's a very German idea! 694 01:39:54,819 --> 01:39:58,716 But when you put the music on the scene, we all start to cry 695 01:39:58,852 --> 01:40:01,887 because it was suddenly true emotion. 696 01:40:02,023 --> 01:40:05,321 It was not some sentimentalism, it was about courage. 697 01:40:05,457 --> 01:40:07,130 Inevitability. 698 01:40:07,266 --> 01:40:10,803 I was absolutely floored by your instinct. 699 01:40:10,938 --> 01:40:12,661 What I learned with you is that 700 01:40:12,797 --> 01:40:14,005 it's not only about the notes 701 01:40:14,141 --> 01:40:15,302 but it's also about the instruments. 702 01:40:15,438 --> 01:40:17,267 -Oh, totally. -And I think that 703 01:40:17,402 --> 01:40:19,374 with "Dune," when you're saying I'm inventing new instruments 704 01:40:19,510 --> 01:40:21,839 and I'm using nothing from our world, 705 01:40:21,975 --> 01:40:25,885 because the story-telling occurs in the instruments 706 01:40:26,021 --> 01:40:27,486 that are also playing the music. 707 01:40:27,621 --> 01:40:28,844 Absolutely. 708 01:40:28,980 --> 01:40:30,149 And I felt it was it was my duty that, 709 01:40:30,285 --> 01:40:32,784 if you go and build sets 710 01:40:32,919 --> 01:40:36,357 and you build costumes and you world-build, 711 01:40:36,493 --> 01:40:38,526 that we needed to world-build as well, 712 01:40:38,661 --> 01:40:40,628 and we needed to go and invent instruments 713 01:40:40,764 --> 01:40:46,167 and find a language that hadn't been used before. 714 01:40:46,302 --> 01:40:47,766 You know, I mean, you know, 715 01:40:47,901 --> 01:40:50,733 it is this band that you see on this stage 716 01:40:50,868 --> 01:40:54,277 that is the soundtrack to Dune, 717 01:40:54,413 --> 01:40:56,946 and I think there is something great that 718 01:40:57,081 --> 01:41:00,683 you have virtuoso actors, 719 01:41:00,818 --> 01:41:05,949 then the last actors that play in this film are these musicians 720 01:41:06,085 --> 01:41:09,228 and they are virtuoso actors too, you know. 721 01:41:09,364 --> 01:41:14,123 What fascinated me in "Dune One" is how you used voice. 722 01:41:14,258 --> 01:41:19,436 Nobody ever found a person as courageous as Loire 723 01:41:19,572 --> 01:41:24,371 and we needed to find somebody who was reckless enough, 724 01:41:24,506 --> 01:41:26,112 because she's right at the edge 725 01:41:26,247 --> 01:41:29,745 of where she could lose her voice forever. 726 01:41:29,880 --> 01:41:31,613 Oh, yeah. 727 01:41:31,748 --> 01:41:34,076 But, technically, when you say that's a figure... 728 01:41:34,212 --> 01:41:37,252 It's not a figure of speech, it's the truth. 729 01:41:37,387 --> 01:41:40,083 But isn't that what it's about, 730 01:41:40,218 --> 01:41:46,024 that we have the honor to be the storytellers, 731 01:41:46,160 --> 01:41:48,530 but at the same time it comes with the responsibility 732 01:41:48,666 --> 01:41:51,562 that we just have to put everything on the line? 733 01:41:51,697 --> 01:41:53,302 ["Paul's Dream" from "Dune"] 734 01:41:53,438 --> 01:41:55,636 [electronic sounds, distorted voices] 735 01:42:08,821 --> 01:42:12,158 [vocalist sings] 736 01:42:18,800 --> 01:42:19,693 [percussions plays] 737 01:43:56,391 --> 01:43:58,759 [orchestra enters] 738 01:45:16,834 --> 01:45:18,707 [orchestra exits] 739 01:45:26,581 --> 01:45:29,322 [orchestra re-enters] 740 01:46:53,138 --> 01:46:57,003 [cheering] 741 01:47:04,718 --> 01:47:07,747 The reason that the shades are down is because 742 01:47:07,883 --> 01:47:09,580 the cutting room is right there. 743 01:47:09,715 --> 01:47:11,050 Oh, really? 744 01:47:11,185 --> 01:47:13,456 And I was working on things with a director 745 01:47:13,591 --> 01:47:15,118 who was in those cutting rooms 746 01:47:15,254 --> 01:47:17,553 and would give me shit for either... 747 01:47:17,688 --> 01:47:20,832 -Are you at the keyboard. -Am I really at the keyboard? 748 01:47:20,968 --> 01:47:23,099 That's my fantasy, to be able to look into where you are... 749 01:47:23,234 --> 01:47:25,301 Yeah, well! 750 01:47:25,437 --> 01:47:29,000 Every movie we've done was 751 01:47:29,135 --> 01:47:31,075 a life and death experience for me. 752 01:47:31,211 --> 01:47:32,943 I don't mean that... 753 01:47:33,078 --> 01:47:37,243 First of all, I don't mean it in an ironic or cynical way, 754 01:47:37,379 --> 01:47:41,076 but it was just like, "Okay, if we're going to do this, 755 01:47:41,212 --> 01:47:44,220 I am prepared to die for it." 756 01:47:44,356 --> 01:47:45,788 This is, this is... 757 01:47:45,923 --> 01:47:48,654 I'm going to throw myself that much into it. 758 01:47:48,789 --> 01:47:50,396 I do tell people that, 759 01:47:50,531 --> 01:47:51,959 and I don't think they believe me actually, 760 01:47:52,094 --> 01:47:54,133 I tell people that the recording sessions 761 01:47:54,268 --> 01:47:56,496 for "The Dark Knight" ended 762 01:47:56,632 --> 01:48:00,297 because I just said, 763 01:48:00,432 --> 01:48:02,505 "We're done, it's enough, you have to stop." 764 01:48:02,640 --> 01:48:04,369 -I remember that! -You know? 765 01:48:04,505 --> 01:48:09,110 I remember, you went over to the console and I was going, 766 01:48:09,246 --> 01:48:12,382 "What the fuck's he doing? He's going over to the console." 767 01:48:12,517 --> 01:48:14,280 And you hit the talk back button 768 01:48:14,416 --> 01:48:17,048 and you spoke to the whole orchestra and you just said, 769 01:48:17,184 --> 01:48:19,991 "Thank you very much, we're done." 770 01:48:20,126 --> 01:48:21,517 And we were! 771 01:48:21,652 --> 01:48:24,557 And I was appalled because I still had 1,000 ideas! 772 01:48:24,692 --> 01:48:27,626 Yeah, it was... 773 01:48:27,762 --> 01:48:29,792 I needed a grown up. 774 01:48:29,927 --> 01:48:33,497 You needed a grown up to say, "We're done, enough is enough." 775 01:48:33,633 --> 01:48:36,435 "Interstellar" is my favorite work that we did together. 776 01:48:36,570 --> 01:48:39,435 Yeah. 777 01:48:39,571 --> 01:48:41,670 How many years ago was it? I don't even know. 778 01:48:41,806 --> 01:48:44,650 -It's ten years this year. -Ten years this year, okay. 779 01:48:44,785 --> 01:48:47,451 I mean, with that film emotion was everything, 780 01:48:47,586 --> 01:48:51,480 and I think it's wonderful to see 781 01:48:51,615 --> 01:48:54,054 it's been more embraced over the years, 782 01:48:54,190 --> 01:48:56,652 and it's a deceptively simple film, that one, 783 01:48:56,788 --> 01:48:59,024 but I think that "Interstellar" could have never worked 784 01:48:59,160 --> 01:49:03,064 with anything other than a new score, 785 01:49:03,200 --> 01:49:05,230 and that was the whole process with "Interstellar." 786 01:49:05,365 --> 01:49:07,362 That was what I wanted to get out of you, 787 01:49:07,498 --> 01:49:09,402 I wanted it to be the most personal score. 788 01:49:09,538 --> 01:49:11,672 I didn't want you to use a lot of other people in the score. 789 01:49:11,808 --> 01:49:13,869 -I didn't. -No, you didn't. 790 01:49:14,004 --> 01:49:18,416 I always fully embraced the way you would put a band together, 791 01:49:18,551 --> 01:49:19,414 the way you would bring people in. 792 01:49:19,550 --> 01:49:21,049 I never fault that, 793 01:49:21,185 --> 01:49:23,015 I always enjoyed that process and meeting people. 794 01:49:23,151 --> 01:49:25,117 -But you do the same thing. -Exactly. 795 01:49:25,252 --> 01:49:29,592 But I wanted to do at least one film 796 01:49:29,727 --> 01:49:32,455 where you didn't have any of that. 797 01:49:32,590 --> 01:49:34,463 It's partly to do with that machine of the film 798 01:49:34,599 --> 01:49:36,194 and getting rid of that 799 01:49:36,330 --> 01:49:38,160 and saying, okay, what's the heart of it, 800 01:49:38,296 --> 01:49:40,365 sort of you at your keyboard. 801 01:49:40,500 --> 01:49:43,270 It's a remarkable thing to look at the finished film 802 01:49:43,406 --> 01:49:48,045 and realize how exactly that is the music for the film. 803 01:49:48,180 --> 01:49:49,547 Yeah. 804 01:49:49,683 --> 01:49:51,374 That first thing you did in one day. 805 01:49:51,510 --> 01:49:55,347 I mean, obviously, then it's so expanded on 806 01:49:55,482 --> 01:49:57,113 and changed and other things added, whatever, 807 01:49:57,248 --> 01:50:00,523 years of work on top of it. 808 01:50:00,659 --> 01:50:03,722 You know, we did 48 sessions. 809 01:50:03,857 --> 01:50:05,296 I'm very aware! 810 01:50:05,432 --> 01:50:08,497 You're very aware, I know! 811 01:50:08,632 --> 01:50:12,264 Proper Zimmer madness! 812 01:50:12,399 --> 01:50:14,471 Would you want it any other way other than 813 01:50:14,606 --> 01:50:17,907 I embraced, I just went mad. 814 01:50:18,042 --> 01:50:20,338 If you remember, my whole approach was to get 815 01:50:20,473 --> 01:50:23,344 you to write before you even knew the genre, 816 01:50:23,479 --> 01:50:27,351 just get you to write based on the fable that I gave you. 817 01:50:27,487 --> 01:50:29,248 -The letter. -Yeah. 818 01:50:29,384 --> 01:50:32,152 Can I ask you something and they can cut it out. 819 01:50:33,959 --> 01:50:37,286 Was that written on your dad's typewriter? 820 01:50:37,422 --> 01:50:39,059 It was, yeah, yeah, it was. 821 01:50:39,195 --> 01:50:42,125 I thought so, and that meant so much. 822 01:50:42,260 --> 01:50:44,494 But the point of doing that, 823 01:50:44,629 --> 01:50:46,632 the point of writing what I call the fable, 824 01:50:46,767 --> 01:50:50,172 just try to get to the absolute essence of the thing, one page. 825 01:50:50,308 --> 01:50:53,339 And the way I would describe it is on the previous films, 826 01:50:53,474 --> 01:50:56,974 we had started with what I call the "machine," 827 01:50:57,109 --> 01:50:58,807 the machine of the score, 828 01:50:58,943 --> 01:51:02,616 all the actions, all the sounds, like, what's the mechanism, 829 01:51:02,752 --> 01:51:04,019 but with "Interstellar," 830 01:51:04,154 --> 01:51:05,615 I knew it had to be the other way round. 831 01:51:05,750 --> 01:51:08,188 And I wanted to look down the other end telescope 832 01:51:08,324 --> 01:51:11,221 and just go, "Okay, let's start tiny and boom out." 833 01:51:11,356 --> 01:51:13,966 How did you know I could do that? 834 01:51:14,101 --> 01:51:17,066 I know. I can tell you exactly because you always talk about... 835 01:51:17,201 --> 01:51:21,839 You're very articulate about creative process. 836 01:51:21,974 --> 01:51:23,299 You spend a lot of time thinking about it 837 01:51:23,434 --> 01:51:24,974 and talking to people about it. 838 01:51:25,110 --> 01:51:27,702 One of the things you'd said to me for years is, 839 01:51:27,838 --> 01:51:30,180 because you had advised me in my own writing, 840 01:51:30,315 --> 01:51:33,818 we talked about the way in which you have to approach writing, 841 01:51:33,954 --> 01:51:35,810 the way you have to approach writing music, 842 01:51:35,946 --> 01:51:37,722 and you always talk about you have to sneak up on it, 843 01:51:37,857 --> 01:51:39,249 sometimes you have to sneak up on it, 844 01:51:39,384 --> 01:51:41,385 you can't address it head on. 845 01:51:41,520 --> 01:51:44,191 So, I think over the years I've realized 846 01:51:44,326 --> 01:51:48,032 that that's very much the case with you. 847 01:51:48,168 --> 01:51:53,003 Process and methodology is freeing for you, it's important, 848 01:51:53,138 --> 01:51:58,173 so the idea was to have your most spontaneous, 849 01:51:58,308 --> 01:52:04,042 your most loose emotional response to begin with, 850 01:52:04,178 --> 01:52:05,984 and then build out from there, 851 01:52:06,120 --> 01:52:07,542 Sort of the opposite of what we've done with the other scores 852 01:52:07,678 --> 01:52:09,982 because I felt that "Interstellar" 853 01:52:10,117 --> 01:52:13,051 would always require that heart, 854 01:52:13,187 --> 01:52:16,223 your soul at the center of it. 855 01:52:18,322 --> 01:52:20,227 ["Interstellar Suite"] 856 01:53:47,145 --> 01:53:49,822 [vocalist sings] 857 01:55:31,855 --> 01:55:33,255 [orchestra builds] 858 01:56:18,804 --> 01:56:21,600 [electric guitar enters] 859 01:56:51,529 --> 01:56:54,006 [organ music enters] 860 01:57:40,149 --> 01:57:42,087 [piano music enters] 861 01:58:31,035 --> 01:58:34,634 [electric guitar enters] 862 01:59:43,502 --> 01:59:49,214 [bass enters] 863 02:01:58,912 --> 02:02:01,511 [vocalist enters] 864 02:02:29,910 --> 02:02:32,872 [choir enters] 865 02:03:41,578 --> 02:03:43,648 Being here is so cool for me. 866 02:03:43,783 --> 02:03:47,813 In many ways, your work is the soundtrack to my life. 867 02:03:47,949 --> 02:03:50,155 You know? It's like all these moments. 868 02:03:50,290 --> 02:03:52,148 I remember being a kindergartener 869 02:03:52,284 --> 02:03:55,123 on my Dad's lap watching "Lion King." 870 02:03:55,258 --> 02:03:57,956 I remember being 17 and going to movies to see "Interstellar" 871 02:03:58,092 --> 02:03:59,261 and being obsessed and then going back 872 02:03:59,397 --> 02:04:00,994 to see it like five times. 873 02:04:01,130 --> 02:04:03,729 -So "Interstellar" moved you. -Oh, my gosh, yeah! 874 02:04:03,864 --> 02:04:06,230 Oh my God, I... It's hard. 875 02:04:06,365 --> 02:04:09,001 To this day though, anyone who comes into my house, 876 02:04:09,137 --> 02:04:11,107 there are certain movies that I make them watch, 877 02:04:11,243 --> 02:04:12,939 and that is one of them. 878 02:04:13,074 --> 02:04:14,645 I have a list of different things, and like, 879 02:04:14,780 --> 02:04:16,073 -if you come in my house... -I've got that, too. 880 02:04:16,208 --> 02:04:18,149 Like, you have to watch "Interstellar." 881 02:04:18,285 --> 02:04:19,881 And if you haven't watched it, 882 02:04:20,016 --> 02:04:21,814 you're not quite my friend until you've watched it. 883 02:04:21,950 --> 02:04:23,278 Because you don't understand me fully! 884 02:04:23,414 --> 02:04:25,222 Exactly, you're not part of our tribe! 885 02:04:25,357 --> 02:04:26,721 Yeah, you don't know me yet, 886 02:04:26,857 --> 02:04:29,556 but something that really resonated with me 887 02:04:29,691 --> 02:04:33,922 when I was 17 was the music. 888 02:04:34,057 --> 02:04:35,895 And it's so funny because 889 02:04:36,030 --> 02:04:39,262 now I think it's like had a resurgence, 890 02:04:39,397 --> 02:04:41,633 "Cornfield Chase" has had the whole resurgence 891 02:04:41,768 --> 02:04:44,307 online with young people, 892 02:04:44,442 --> 02:04:45,803 people my age or people younger, 893 02:04:45,938 --> 02:04:47,543 using them in TikToks and... 894 02:04:47,679 --> 02:04:51,006 I know. I keep seeing it on, like, 895 02:04:51,141 --> 02:04:52,842 cut to the craziest footage! 896 02:04:52,977 --> 02:04:55,046 Yeah! It's everywhere. 897 02:04:55,182 --> 02:04:56,549 That was something that resonated to me 898 02:04:56,685 --> 02:04:58,321 when it first came out, 899 02:04:58,457 --> 02:04:59,454 there was something about it. 900 02:04:59,590 --> 02:05:01,149 I remember I would play it... 901 02:05:01,284 --> 02:05:04,386 I'm from Oakland and sometimes 902 02:05:04,521 --> 02:05:06,062 I would drive back home with my parents... 903 02:05:06,197 --> 02:05:07,398 Over the bridge. 904 02:05:07,533 --> 02:05:09,959 And I would play that driving back. 905 02:05:10,094 --> 02:05:11,067 "Don't let me leave, Murph!" 906 02:05:11,203 --> 02:05:13,200 Right, right. 907 02:05:13,335 --> 02:05:15,136 Dun, dun! 908 02:05:15,272 --> 02:05:17,936 It was playing, you feel like you're in the movie, you know! 909 02:05:18,072 --> 02:05:21,442 So, it's just deeply emotional to me. 910 02:05:21,578 --> 02:05:24,008 It was intensely personal. 911 02:05:24,144 --> 02:05:26,717 Do you ever feel like you put yourself, 912 02:05:26,852 --> 02:05:29,180 obviously you put yourself inside of the films, 913 02:05:29,315 --> 02:05:31,521 but do you feel like you resonate sometimes 914 02:05:31,657 --> 02:05:32,884 specifically with different characters 915 02:05:33,020 --> 02:05:34,317 and put yourself inside of them? 916 02:05:34,452 --> 02:05:36,517 Totally. Going back to "The Lion King," 917 02:05:36,652 --> 02:05:39,295 which I didn't want to do... dah, dah, dah. 918 02:05:39,430 --> 02:05:42,327 All the stupid things. 919 02:05:42,462 --> 02:05:47,700 My story is, my dad died when I was six, and here I am. 920 02:05:47,835 --> 02:05:49,399 I tell you why I did "Lion King" 921 02:05:49,534 --> 02:05:51,667 because my oldest daughter was six at the time. 922 02:05:51,802 --> 02:05:53,402 Ah... 923 02:05:53,537 --> 02:05:55,613 And I've never been able to take her to a premier 924 02:05:55,748 --> 02:05:57,180 because you can't really take a six-year-old 925 02:05:57,316 --> 02:05:58,682 to a Ridley Scott movie, 926 02:05:58,817 --> 02:06:00,751 -if you know what I mean. -Yeah, understood. 927 02:06:00,887 --> 02:06:03,013 So I thought, "I'll do this happy cartoon," right? 928 02:06:03,148 --> 02:06:04,789 -For my kid. -For my kid. 929 02:06:04,924 --> 02:06:09,359 Then I'm sitting in the front of it, and it's like, 930 02:06:09,494 --> 02:06:11,354 "It's about a father dying," 931 02:06:11,490 --> 02:06:15,397 and I had like hidden all that away from me. 932 02:06:15,532 --> 02:06:17,065 Hadn't dealt with it. 933 02:06:17,200 --> 02:06:20,570 -I hadn't dealt with it at all! -Just put that in the... 934 02:06:20,706 --> 02:06:23,835 Now, I'm sitting in front of a cartoon 935 02:06:23,970 --> 02:06:25,670 and I have to deal with it. 936 02:06:25,805 --> 02:06:27,105 So I wrote this... 937 02:06:27,240 --> 02:06:28,842 I mean the whole score of "Lion King" 938 02:06:28,978 --> 02:06:30,213 is a requiem for my father, you know. 939 02:06:30,349 --> 02:06:33,518 Wow! That's so cool. 940 02:06:33,653 --> 02:06:36,918 By the end of it, it's always personal. 941 02:06:39,590 --> 02:06:41,521 ["The Lion King Suite"] 942 02:06:41,656 --> 02:06:42,924 [Lebo M. sings] 943 02:07:10,455 --> 02:07:16,155 ["He Lives in You" plays] 944 02:07:22,234 --> 02:07:25,799 ♪ Night ♪ 945 02:07:25,934 --> 02:07:28,431 ♪ And the spirit of life ♪ 946 02:07:30,408 --> 02:07:32,105 ♪ Callin' ♪ 947 02:07:34,379 --> 02:07:36,142 ♪ Mamela ♪ 948 02:07:38,241 --> 02:07:41,947 ♪ And a voice ♪ 949 02:07:42,082 --> 02:07:47,158 ♪ With the fear of a child ♪ 950 02:07:47,293 --> 02:07:50,557 ♪ Answers ♪ 951 02:07:50,692 --> 02:07:53,830 ♪ Whoa, mamela ♪ 952 02:07:59,766 --> 02:08:01,332 ♪ Wait ♪ 953 02:08:03,271 --> 02:08:07,304 ♪ There's no mountain too great ♪ 954 02:08:07,440 --> 02:08:11,247 ♪ Hear these words and have faith ♪ 955 02:08:11,382 --> 02:08:14,213 ♪ Oh ♪ 956 02:08:15,652 --> 02:08:17,051 ♪ Have faith ♪ 957 02:08:19,688 --> 02:08:21,693 [chorus enters] 958 02:08:23,859 --> 02:08:26,555 ♪ He lives in you ♪ 959 02:08:27,797 --> 02:08:29,734 ♪ He lives in me ♪ 960 02:08:31,867 --> 02:08:35,802 ♪ He watches over ♪ 961 02:08:35,937 --> 02:08:38,743 ♪ Everything we see ♪ 962 02:08:40,271 --> 02:08:44,172 ♪ Into the water ♪ 963 02:08:44,308 --> 02:08:47,847 ♪ Into the truth ♪ 964 02:08:47,982 --> 02:08:52,884 ♪ In your reflection ♪ 965 02:08:53,020 --> 02:08:54,759 ♪ He lives in you ♪ 966 02:08:57,057 --> 02:08:59,390 ♪ He lives in me ♪ 967 02:09:01,896 --> 02:09:04,461 [electric guitar enters] 968 02:09:17,517 --> 02:09:20,279 ♪ He lives in you ♪ 969 02:09:21,917 --> 02:09:24,613 ♪ He lives in me ♪ 970 02:09:26,185 --> 02:09:29,790 ♪ He watches over ♪ 971 02:09:29,925 --> 02:09:34,255 ♪ Everything we see ♪ 972 02:09:34,391 --> 02:09:38,127 ♪ Into the water ♪ 973 02:09:38,263 --> 02:09:42,605 ♪ Into the truth ♪ 974 02:09:42,740 --> 02:09:46,773 ♪ In our reflection ♪ 975 02:09:46,909 --> 02:09:49,737 ♪ He lives in you ♪ 976 02:09:51,409 --> 02:09:56,678 [singing in foreign language] 977 02:10:20,910 --> 02:10:22,440 ♪ He lives in you ♪ 978 02:10:24,782 --> 02:10:26,609 ♪ He lives in me ♪ 979 02:10:32,757 --> 02:10:34,650 ♪ He lives in me ♪ 980 02:10:39,289 --> 02:10:40,788 [percussion plays] 981 02:10:42,797 --> 02:10:44,594 [vocalizing] 982 02:11:16,703 --> 02:11:18,661 [orchestra and chorus enters] 983 02:13:04,567 --> 02:13:06,868 [electric guitar enters] 984 02:13:38,941 --> 02:13:42,640 [vocalist enters] 985 02:14:34,963 --> 02:14:36,430 [violinist solo] 986 02:15:07,062 --> 02:15:10,431 [orchestra enters] 987 02:16:40,322 --> 02:16:42,985 [chorus and Lebo M. enters] 988 02:17:41,112 --> 02:17:44,486 [chanting and singing in foreign language enters] 989 02:18:18,289 --> 02:18:22,257 ♪ 'Til we find our place ♪ 990 02:18:22,392 --> 02:18:28,458 ♪ On the great unwinding ♪ 991 02:18:28,594 --> 02:18:33,069 ♪ In the circle ♪ 992 02:18:33,204 --> 02:18:35,464 ♪ The circle of life ♪ 993 02:18:35,599 --> 02:18:38,007 ♪ Whoa ♪ 994 02:18:38,143 --> 02:18:42,680 ♪ Circle of Life ♪ 995 02:18:42,815 --> 02:18:46,240 [cheering] 996 02:19:08,440 --> 02:19:12,106 Ladies and gentlemen, the legend, 997 02:19:12,242 --> 02:19:14,735 the true Lion King, 998 02:19:14,871 --> 02:19:18,848 my brother, Lebo Morake! 999 02:19:18,983 --> 02:19:21,143 [cheering] 1000 02:19:33,156 --> 02:19:35,528 Cup of tea, cup of coffee? Water? 1001 02:19:35,664 --> 02:19:36,932 -What do you want? -I'm good. 1002 02:19:37,068 --> 02:19:38,734 I'm good, too. 1003 02:19:38,870 --> 02:19:43,031 Just want to say this, thank you for changing my life. 1004 02:19:43,167 --> 02:19:45,106 -Oh, brother! -No, it's the truth. 1005 02:19:45,241 --> 02:19:46,576 It's the truth. 1006 02:19:46,711 --> 02:19:48,336 You gave me the courage to go and do the thing 1007 02:19:48,471 --> 02:19:52,580 that I didn't know I so wanted to do, you know. 1008 02:19:52,716 --> 02:19:55,250 You said, "You can't hide behind a screen 1009 02:19:55,385 --> 02:19:56,347 for the rest of your life." 1010 02:19:56,483 --> 02:19:57,949 Which is true. 1011 02:19:58,084 --> 02:19:59,889 You've ruined a perfectly good film composer. 1012 02:20:00,024 --> 02:20:02,919 [chuckles] 1013 02:20:03,055 --> 02:20:07,226 No, I think I just held up a mirror. 1014 02:20:07,361 --> 02:20:08,963 That was it. 1015 02:20:09,099 --> 02:20:13,294 None of this would have happened had it not been for friendship. 1016 02:20:13,429 --> 02:20:15,668 There's a sentence somebody said to me once, 1017 02:20:15,803 --> 02:20:17,836 "We're all alone in this together." 1018 02:20:17,971 --> 02:20:20,001 People are always going how well we play 1019 02:20:20,137 --> 02:20:21,508 or any of that stuff, you know, 1020 02:20:21,644 --> 02:20:23,403 that's what makes a great musician. 1021 02:20:23,538 --> 02:20:26,782 I don't think so. I think it's how well we listen. 1022 02:20:26,918 --> 02:20:32,554 It's the constant listening with which we support each other, 1023 02:20:32,689 --> 02:20:34,523 and if we don't support each other, 1024 02:20:34,658 --> 02:20:36,686 -the whole thing falls apart. -Yes. 1025 02:20:36,822 --> 02:20:38,458 Music just falls apart. 1026 02:20:38,593 --> 02:20:39,956 That's where it becomes magical. 1027 02:20:40,092 --> 02:20:41,759 -Exactly! -When it's between people. 1028 02:20:41,895 --> 02:20:46,299 It's magical because each person 1029 02:20:46,435 --> 02:20:49,471 is tuning into the muses 1030 02:20:49,607 --> 02:20:53,202 which is why they call them musicians, 1031 02:20:53,337 --> 02:20:57,473 and the substance that they are transmitting 1032 02:20:57,608 --> 02:21:00,150 is music, 1033 02:21:00,285 --> 02:21:02,881 that's the substance, music. 1034 02:21:03,016 --> 02:21:06,047 It's the substance of the transmissions 1035 02:21:06,183 --> 02:21:09,583 of the musicians from the muses. 1036 02:21:09,719 --> 02:21:14,395 The fact that three or four people could be in the room, 1037 02:21:14,530 --> 02:21:17,962 and then that syncs up together. 1038 02:21:18,098 --> 02:21:20,834 -That is magical. -Right, no, absolutely. 1039 02:21:20,970 --> 02:21:24,267 And you can't do it without being in tuned, 1040 02:21:24,402 --> 02:21:27,809 and how can you be in tuned if you're not listening? 1041 02:21:27,945 --> 02:21:32,706 When I left school, I was touring with a terrible band 1042 02:21:32,842 --> 02:21:35,784 and we had no money, et cetera, and we were going everywhere 1043 02:21:35,919 --> 02:21:39,456 and things were really grim, people were so poor. 1044 02:21:39,592 --> 02:21:44,390 And so, I have this fictitious person, 1045 02:21:44,526 --> 02:21:46,463 she's called Doris, 1046 02:21:46,598 --> 02:21:50,397 she wears a grey raincoat and she works, 1047 02:21:50,532 --> 02:21:51,999 she works really hard, 1048 02:21:52,134 --> 02:21:54,164 you know, her hands are like red from working hard. 1049 02:21:54,299 --> 02:21:57,399 And come the weekend, she's got a choice. 1050 02:21:57,534 --> 02:22:00,968 She can go to the movies with her hard-earned money, 1051 02:22:01,103 --> 02:22:02,905 or she can go to the pub. 1052 02:22:03,040 --> 02:22:05,547 When she goes to the movies, 1053 02:22:05,683 --> 02:22:09,016 I'd better go and have created some magic, 1054 02:22:09,152 --> 02:22:14,321 I'd better go and give her two hours of an amazing time. 1055 02:22:14,457 --> 02:22:17,056 So whenever I write, 1056 02:22:17,191 --> 02:22:19,429 and every piece that comes from nowhere, I go, 1057 02:22:19,564 --> 02:22:22,191 "What would Doris think of this?" 1058 02:22:22,326 --> 02:22:26,033 -Wow! -"Is it good enough for her?" 1059 02:22:26,169 --> 02:22:29,232 I don't write for directors, I don't write for producers, 1060 02:22:29,367 --> 02:22:31,072 and I certainly don't write for movie studios. 1061 02:22:31,207 --> 02:22:34,207 Whoa. 1062 02:22:34,342 --> 02:22:38,974 You know what's crazy is that you write these big epic moments 1063 02:22:39,109 --> 02:22:43,011 for so many people's films, 1064 02:22:43,146 --> 02:22:45,246 their ideas, their concepts. 1065 02:22:45,382 --> 02:22:47,519 People see those films and they feel 1066 02:22:47,655 --> 02:22:49,216 what the director wanted 1067 02:22:49,352 --> 02:22:53,323 because you bring such audio color, 1068 02:22:53,459 --> 02:22:57,026 and you can do it from the brightest of the bright, 1069 02:22:57,161 --> 02:22:59,395 you know, a "Gladiator" moment, 1070 02:22:59,530 --> 02:23:02,203 all the way to the darkest of The Darkest Knight. 1071 02:23:02,338 --> 02:23:03,571 Thank you. 1072 02:23:03,706 --> 02:23:05,338 And I'm honored, I'm just honored. 1073 02:23:05,473 --> 02:23:06,339 No, come on! 1074 02:23:06,475 --> 02:23:07,605 But it's true. 1075 02:23:07,741 --> 02:23:10,947 No, because it's like... 1076 02:23:11,082 --> 02:23:14,044 you've seen my vulnerabilities and you've seen me fuck up. 1077 02:23:14,180 --> 02:23:16,442 You've seen me struggle, you know. 1078 02:23:16,578 --> 02:23:17,918 -We've seen each other struggle. -Yeah. 1079 02:23:18,053 --> 02:23:21,590 You know, "How can we make this tune work? 1080 02:23:21,725 --> 02:23:23,116 How can we make this lyric work?" 1081 02:23:23,252 --> 02:23:25,561 -You know? -Yeah. 1082 02:23:25,697 --> 02:23:30,161 I get to just mostly aim straight 1083 02:23:30,296 --> 02:23:33,399 for either the heart or the feet, you know. 1084 02:23:33,534 --> 02:23:36,332 It's like... 1085 02:23:36,467 --> 02:23:38,502 You've got to dance or you've got to feel it. 1086 02:23:38,637 --> 02:23:40,407 Crazy! 1087 02:23:40,542 --> 02:23:41,743 I never knew that. 1088 02:23:41,878 --> 02:23:44,479 That's what you were thinking of... 1089 02:23:44,614 --> 02:23:45,812 You didn't know about Doris? 1090 02:23:45,947 --> 02:23:48,476 No. No, that's a first for me. 1091 02:23:48,612 --> 02:23:50,520 I just thought you went sitting there and going, 1092 02:23:50,656 --> 02:23:52,847 "This what they need. Okay, cool." 1093 02:23:52,982 --> 02:23:54,523 No, no, no. 1094 02:23:54,659 --> 02:23:56,319 It's like I feel it even more... 1095 02:23:56,454 --> 02:23:58,153 No, it's beyond there, it's beyond there. 1096 02:23:58,289 --> 02:24:00,758 -Weirdly, she is my hero. -Yes. 1097 02:24:00,893 --> 02:24:02,292 Because she works hard 1098 02:24:02,428 --> 02:24:07,596 and she's been left in this desolate place. 1099 02:24:07,731 --> 02:24:11,471 Yeah, and to be able to deliver for her means the world. 1100 02:24:11,607 --> 02:24:13,370 And you know that thing, 1101 02:24:13,505 --> 02:24:16,643 when you go to the cinema and the lights go down, 1102 02:24:16,778 --> 02:24:18,872 and then that magic happens. 1103 02:24:19,007 --> 02:24:20,277 Yeah. 1104 02:24:20,412 --> 02:24:23,043 And for two hours, two and a half hours... 1105 02:24:23,179 --> 02:24:25,011 Everyone's the same. 1106 02:24:25,146 --> 02:24:26,188 Absolutely. 1107 02:24:26,324 --> 02:24:27,657 Everyone's equal. 1108 02:24:27,793 --> 02:24:31,127 Yeah, and we're all dreaming together. 1109 02:24:31,263 --> 02:24:32,256 It's fabulous. 1110 02:24:37,127 --> 02:24:39,626 ["Time" from "Inception"] 1111 02:25:08,960 --> 02:25:11,526 [cello enters] 1112 02:25:38,429 --> 02:25:41,094 [orchestra enters] 1113 02:26:38,919 --> 02:26:41,616 [electric guitar enters] 1114 02:27:41,277 --> 02:27:44,217 [brass enters] 1115 02:28:10,880 --> 02:28:13,246 [piano and violin solo] 1116 02:28:40,335 --> 02:28:42,605 [piano solo] 1117 02:29:31,095 --> 02:29:32,562 ["Diamond in the Desert" by Hans Zimmer] 1118 02:29:32,697 --> 02:29:34,393 [electric bass plays] 1119 02:29:50,274 --> 02:29:52,477 [orchestra enters] 1120 02:30:46,529 --> 02:30:49,897 [percussion enters] 1121 02:31:06,724 --> 02:31:09,015 [vocalist enters] 1122 02:31:43,695 --> 02:31:45,557 [chorus enters] 1123 02:31:51,933 --> 02:31:53,598 [vocalist solos] 1124 02:32:21,062 --> 02:32:23,331 [woodwind solo] 1125 02:32:25,232 --> 02:32:26,664 [vocalist re-enters] 1126 02:33:22,590 --> 02:33:24,392 [orchestra crescendos and exits] 1127 02:33:26,457 --> 02:33:29,661 [woodwind solo] 1128 02:34:35,394 --> 02:34:38,158 [chorus re-enters] 1129 02:35:50,008 --> 02:35:52,705 [synthesizer enters] 1130 02:36:53,370 --> 02:36:55,933 [percussions and orchestra enter]