Batman, Tim Burton, Beetlejuice discussed on Q

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| WNYC 93.9 FM


To me never seemed weird. Right. Let me put it that way. I can imagine this now I can imagine everyone else reading Beetlejuice and going. This is crazy. This is wild. And you reading it and going. Yeah. Yeah. I get this. Yeah. I mean, it nothing seemed weird to me. It just seemed oh how fun and I don't mean to be glib here. But this is the best way. I can intellectualize. It is is Tim Burton calling you and saying, hey, man, I got this idea. It's about a guy named Edward. He instead a scissors for hands. I'm going to do this thing. I want you to score let let's just make it happen. Like, are you on the ground floor of this thing will? Yes. In the sense that he began hiring me early. So I would be available because once I started peewee, I was hungry to get learn more about how to write for orchestra. So even though I was writing touring and producing ongoing go I was trying to get in one or two films. So between. He wants comic that I think that's when we were doing starting Batman that in between each of his films. I was scoring four other films. So peewee was one Beetlejuice was five. Batman was ten. I didn't quite make it Edward was fourteen instead of fifteen but he was going. How are you doing all these films between my films, and I said you don't understand if I don't keep doing lots of films between your films? I won't be good enough to grow into what I need to do every film. I'm doing even if it's stupid little comedy or something. I'm gonna try something. I'm going to try something with the orchestra that. I've never done before. And I'm honing my skills really what I'm doing is increasing the size of my toolbox. So when I went in with peewee, it was just a tiny little toolbox with a hammer or wrench and pliers. And I was trying to build up a bigger box. So I had more tools to work with. So by the time, I got to Batman. I was ready for Batman. So even now, I mean, let let's be specifically about film composition because we started the conversation by talking about the challenge you give yourself when in this violent concerto in your work. But I love this metaphor of your toolbox getting bigger and bigger and bigger, and it's been why has it been like thirty thirty forty years now. I mean, you you just worked on Dumbo the new the new Tim Burton film, when it comes to film composition is there. Still stuff left to be added to your toolbox. Will look your toolbox never gets closed. What's harder now is finding film step will. Let me expand. My toolbox. Because a lot of films that I'm doing simply don't want me to do anything more than I'm able to do. And there is a point where it's like I want to try things. But I can't do it within the context of film because I can't push a film to do something. That's not right for the film. And that is exactly why expanded the concert music, great, right? Right. Because I needed to keep going and film wasn't allowing me to do that. Are you comfortable with that? Like, are you are you comfortable with how then I heard you talk about this that you know, you say that when when the times come time comes and you pass it could easily say, Danny healthman, film composer. Composed. The Simpsons theme music. Like, are you are you comfortable with that? Well, no, I have never been comfortable with that. But on the other hand, I consider that. I can't look down at what may be the luckiest break of my life was simply walking into a meeting and getting the Simpsons in writing it the same day. Okay. So we're gonna keep you on the hukou a little bit. We're going take a quick ninety seconds to check in with the news. And you're going to hear the rest of my conversation with Danny Alvin including the feud with the guy who created the Simpsons macaroni. They got him the big break that he just mentioned. This is an unbelievable story that any other things about to tell you about how he ended up composing the Simpsons theme or any up and coming up after.

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