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[Laughs] It's been very difficult the last year. I'm very organised, and luckily a lot of the people that I work with are people that I've known for a long time. The different studios were very good at helping me organise the scoring aspect of everything. I scored six movies this past year, and then I directed Werewolf By Night as well. So it was crazy. When I was shooting in Atlanta on Werewolf, on the weekends I would be working on Thor: Love and Thunder. It was nuts. It's not something I would recommend to anybody. But COVID sort of screwed up all of the schedules. Then when everyone was ready to get back, it just all happened at once. And they were not small movies. They were giant movies.
I don't work all night long. There's a certain point of the day when I'm just done, and I go and have a normal life after that. I go to dinner with friends, all of those things. So I keep some semblance of normalcy attached to the chaos because it feels like that's the only way it's going to keep me sane and allow me to continue doing what I'm doing. If I just live in the work, that's not going to work. That's a nightmare.
You're now at the stage of your career when you can have a year like this. At what point did you sense that things started to change for you to put you on the path that led you here?
It came out fully formed. It was written two years before they were shooting, and I wrote it based on some conversations Matt and I had had and from reading the script. I was so inspired by what he wanted to do with the character that I felt this need to just write something early. You don't always have the time to do that. But I just had an idea, and I wanted to follow through with it. I recorded it with an orchestra and gave it to Matt, and Matt had that theme before the screen test with Robert Pattinson happened. So he was able to bring that in and play it for the screen test. Matt was so detailed in what he felt this character was going through, and I wanted to create a piece of music that if you listened to it with headphones on, you would really understand what it was to be Batman. And it didn't only mean the darker sides of Batman it also meant the sadness he carries with him in his life and the difficulties he has. Emotionally, I wanted you to be able to understand everything about him. Not just Batman, but Bruce Wayne as well. To treat it not as a separate split down the centre character, but as one whole being.
It was a slow evolution from a 3-4 metre to a 4-4 metre to suggest his growth. The treatment of the melody became a little more heroic as he got older and got more experience. In the beginning, it's very simple. But the idea was to evolve it over time so that by the end, it really felt like he grew into the hero that he was destined to be. To be able to do three of something is rare these days, but I've been so lucky. I was able to do it on Star Trek, I was able to do it with Spider-Man, and I got to do two Planet of the Apes. It's nice because it keeps it grounded in the same world.
It's important for us to do that. A lot of times what happens is that people will use other people to help them get their work done, but then not credit them properly. For me, if they did the work, they get the credit. I don't care if that means I share the screen with them. I always have these conversations with my agent about how the truth is important. So whatever the truth is, that's what we do on the credits. Because if they can't get that credit on screen, then there's almost no way for them to then build their own career, right? You have to be willing to do that. It's not going to hurt anybody. If you share credit with somebody, nobody is going to think any less of me if I do that. So I'm always a little weary-eyed about that when that doesn't happen.
On Thor, that schedule got really messed up because of COVID. So that was now being pushed on top of shooting Werewolf By Night. I was like, I'm going to need someone to help me on this and Nami was the perfect choice. I had written about half of it at that point, but it was going to be very hard for me to do the other half. So she jumped in, grabbed my themes, and just went for it. She did such a great job. I love working with her.
These things have deadlines. That film has to come out and be on a screen at some point because they made an advertisement and said it was going to be so you better get your work done in time for that to happen. The only way to do that is to divorce yourself from the fear of it, and just do the best work you can and jump in. Luckily, the things I choose to do are things that I love. So it's always fun. I do wonder sometimes if my guesses are what the audience wants. You never know. But if you can live with that uncertainty, then I feel like you can survive this business and enjoy the process as well.
I try to mix it up with everything. You're not going to be able to use the music from Up and put it in Spider-Man. I try to create something that really only works best with that particular movie. I'm sure there are certain things you can interchange if you want to. But for me, whether it's in a melody or instrumentation or in the setup of the orchestra, I always try to find some unique thing that marries that music to that movie eternally.
I was always inspired by that. I love how everything had a different theme. Raiders of the Lost Ark feel different from Star Wars or The Witches of Eastwick, a brilliant score which is one of my favourites of his. That's a score that has bigger moments, but also it's very intimate and beautiful too. So if you look hard enough, I think you can see the artists really trying to make things unique for a particular project. And the ones that don't? There are people that approach this from an artistic standpoint, and people that approach this from a business standpoint, and I think you can feel the difference between the two.
A cold beer to wash down the fresh made cheese curds, a Field of Dreams specialty long island ice tea while enjoying time with friends before the movie or sipping a chardonnay when the movie is done, the full bar has it.
The St. Michael Cinema 2024 Refillable Popcorn Bucket provides 2 free fills each visit to the Cinema for an entire calendar year. If you're not going to a movie and want a refill to go, it's only a $1 per refill.
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Immerse yourself into the film on the giant 70' Eiffel Screen with incredible audio. Designed by a big named, big screen, well known company, (that shall remain nameless per our contract) the Eiffel Screen experience puts you up close to the action. Proximity matters. The auditorium is designed with more height than a standard movie theater, allowing the spectators much better proximity to the screen.
Announcing our outdoor live concert venue: SUMMERFIELD! Sit with your friends and enjoy one of many concerts coming this summer. Gates normally open at 5:30. Bring your own chair, arrive early for a pre-concert hamburger or happy hour at the bar. Summerfield is the place to be this summer!
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And the true genius of Transformers: ROTF is that Bay has put all of this excess of imagery and random ideas at the service of the most pandering movie genre there is: the summer movie. ROTF is like twenty summer movies, with unrelated storylines, smushed together into one crazy whole. You try in vain to understand how the pieces fit, you stare into the cracks between the narrative strands, until the cracks become chasms and the chasms become an abyss into which you stare until it looks deep into your own soul, and then you go insane. You. Do. Not. Leave. The Cabinet.
So, to sum up: Transformers: Revenge Of The Fallen is one of the greatest achievements in the history of cinema, if not the greatest. You could easily argue that cinema, as an artform, has all been leading up to this. It will destabilize your limbic system, probably forever, and make you doubt the solidity of your surroundings. Generations of auteurs have struggled, in vain, to create a cinematic experience as overwhelming, and as liberating, as ROTF.
Every Tuesday, hosted by Damian Michael Movies & Bam. The show from the man dem that love to talk about the movies. Every week we discuss a film, a genre, a phenomenon, with our favourite film friends.
You ever go on social media, see a discussion happening and just, put your phone away? Sometimes it can be really difficult to talk di tings, but a nuh so yuh fi move. For all the times you wah seh sumn but you jus nah mek it known, we ready to talk the Big People Tings.
I saw The Godfather for the first time when I was, like, 13. I downloaded it because it was an R-rated mafia movie, and I figured it was going to be every 13-year-old's dream. Instead, I was treated to an exceptionally deep look at the American dream, a treatise on family, and probably the greatest film ever made. But that's just my opinion.
Since then, I've become a big Godfather fan. Not the kind of fan who hangs posters in his basement or gets a tattoo, but the kind who loves to drop a quote here and there and spends $20 on a bottle of Coppola's wine to seem classy once in a while.
After recently rewatching the entire trilogy, I feel comfortable saying I think the series protagonist is the best-written character of all time. Check out this video from Just an Observation and let's talk after the jump.
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