James newton howard 12 years later movie#
I was working on a Chris Nolan movie and ultimately you serve the film in front of you. I think probably one of the things is that we're a lot darker than any of the stuff that's gone before. Well, you know, why would I want to do a sequel to something? That's a boring thing to do. You obviously wanted to distance yourself from those pictures since this is more or less a fresh start for the Batman franchise. And of course I'm not mentioning any of that either, because quite honestly I didn't go and look at the old Batman movies again, obviously, you know? IGN Music: That's what I was curious about. Nobody ever mentions the Elliot Goldenthal scores. I was talking to James about this the other day. And Elliot, I don't think has ever written a bad score. Danny Elfman's score is pretty seminal and the others utilized a lot of contemporary rock music… Hans Zimmer: Well they had Elliot Goldenthal's scores, as well. IGN Music: That's what I was going to ask you. You don't want to go and do what anybody else has done before. I thought of approaching it strictly from "This is a Chris Nolan movie" and completely forgetting that there were any other Batman movies before. You know, occasionally I would sit down and see if I could figure out a new way of even talking about this, of finding a slightly different language than whatever the other Batman movies had. IGN Music: Are you including the year that you and Chris were talking about the score on and off and he was trying to convince you to take on the project? Hans Zimmer: Yeah. A year of just pottering around in the laboratory, as it were. So you can say 12 weeks and a year, you know. So by the time we got to London there was a pretty robust sort of framework in place, in a way, just off quickly dashed off motifs and ideas. Even though those were really rough executions, they were nice, spontaneous ideas and they really did inform the picture. A lot of those ideas were born over the last year, just with Chris describing a scene and both James and myself just writing away from picture and just occasionally going "Alright, here you go Chris, I'll slip you another little piece" just because he needed it. Can you just quickly come up with something." He would do this while I was on another project or whatever. I know Chris used to do this very smart and clever thing of going "I'm cutting away at this scene and I don't know what to put in and I can't find anything, but I need a little bit of music here. That said, what was the total time the two of you spent writing the score, you know from the time you signed on to the project up to when you wrote the last note? Hans Zimmer: God knows. IGN Music: You mentioned earlier that you and James spent 12 weeks in London writing. I'm being cautious here because I'm not Chris, but I know he had a good time. But I think…quite honestly, I know he enjoyed it. I think Chris being used to David being really quite organized and quite orderly, I just embrace chaos and anarchy. I push everything, including deadlines and budgets. But you know, I must be the nightmare of so many filmmakers because I'm always late in delivering.
James newton howard 12 years later plus#
And I'd been really straight with Chris about my completely anarchistic way of working, which is "let's throw everything up into the air and see how it comes down/let's throw something up against the screen and see if it sticks." Plus the whole idea of being very collaborative in a way, everybody gets to say what they think, everybody gets to be very honest about it, you know, nobody will take offense. So at least we'd had dialogue, at least we had something to talk about. The interesting thing is that Chris and I had had on-and-off conversations for about a year, a year-and-a-half before I actually said "yes" to this thing. I imagine that this must have been something of a new experience for him since he was not only dealing with new composers, but also the fact that you and James had never worked with him before, either.
IGN Music: What was it like working with Christopher Nolan? Up to this point, on his three previous films he had worked exclusively with composer David Julyan.
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