Pearl Jam, Mike Mccready, Seattle discussed on The Q&A with Jeff Goldsmith
How did you come to work with Mike mccready, and what was it like working with them? It was great working with Mike. And he's the guitarist Pearl Jam for those of you who don't know that a little bit little band slow Seattle banning north. But he I was I've been approached Japan for twenty five years. So I was really really excited about the prospect of working with him. And and we met at the after party of screening of lucky them, my film that made it. Two thousand thirteen and he expressed interest in scoring and he really wanted to move in that direction, and you look I'm going to make a movie just for you to score. Yeah. I was just I was in my head the whole for until the point where we're starting to make Sadie. And I was like I think we should talk to Mike about doing this. And I went to him. And I was like can you are you interested in this subject matter as something you would want to do it's not a very big budget like and he was luckily as a day job, so you have to make them. No. It's not often discussed, but what kind of direction would you be able to give him? I mean, because of course, like, obviously, he turned in really good music. But I would think that you still would need some revisions for him to point them in the right direction. You can't be a mind reader. No for sure, and I work really specifically with composers and a way that I I don't know. I don't think it's only me who works this way. But it's not like the traditional thing where you finish the movie, and then you just start from that point and score the locked picture. I like music. That's made by the composer in the edit. So I can play with it and move it around and try and different places and kind of build it out and let it happen organically, and I told Mike that from the beginning, and he was really cool with it. And so he and the two women that he was composing with which is Molly sides in Whitney petty from thunder pussy, which is another amazing Seattle band. They all came into the studio and just kind of created all this music. I got a long along which was amazing. You mean like how long did they how long was he working on his they did they did a session where they created probably like eight or nine tracks. And then I played with those and gave feedback on those and said, they'd watch a cut with the parts of the songs that we'd use sort of interlaced. And then we talk about areas where we needed more and in what direction that those might work, and then they would go back in and do another session. I think they did like three of those. And then then we're getting towards the end of the process, and it became more spotty where it was like, we really need something. That's like a three second piece for this transition or whatever. So, but yeah. In terms of feedback for me. It's like the language of music is a language. I don't speak. I was gonna say so you don't play anything speaks Greek or whatever. And so I always just have to talk in the language of emotion, and that is a shared language because musicians all think about that too. And so they translate it into music, but we talk about like why what? What should this piece? Make me feel a lot of directors. Sometimes when the can't talk only was a music, Tim scores. Did you use like, no, I hate temps. Okay. Okay. Good. Well, I mean a lot of composers eight Tim scores too. So no, it's true. It's a big studio thing because it gets everybody to see like, oh, it's going to sound like this and brave in this and this scene, and then people become to married to it. And then you're watching the movie, and you're like why is this? All right. It's tricky test scores for me, the reason I don't like them is because either you get too attached to them or you can never find the right thing. And so you're having all these feedback screenings where it's like either. Perfect..