Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can`t get that in the big room.
So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It`s still their ball game. It`s their show. I think any successful composer learns how to dance around the director`s impulses.
So I`ve learned in the past, if a company approaches me and they want something like this, or something like that that I`ve done and I turn them down, they`re going to do it anyhow.
Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.
Oh see, first off you gotta realize - everything for me is a reconstruction or deconstruction. I would actually say deconstruction. Mission: Impossible would be the exception. That would be a reconstruction- deconstruction.
Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can`t get that in the big room.
