 My name is Daniel Schweiger. I'm the soundtrack editor of film music mag.com and thank you for coming to the Logan Q&A and CD premiere event. I'd like to introduce on the far left hand, Mr. Marco Beltrami. Next to Marco, Buck Sanders. Hello. Marcus Trump. No relations. Very very sad. And Brandon Roberts. Well I mean I you know what can you say about Logan? It's really a superhero film and score unlike any other very bleak depressing powerful and wonderfully sad ending big-head critics absolutely love this in the way they haven't shown love to many superhero films of late and again the score is such such a powerful component of that you know it's really it harkens back from everything to one flu over the cuckoo's nest of the taking of Pelham one two three and just how incredibly diverse that this is and what I did is I you know I kind of brought some clips to preamble about how how we got to Logan the scores among the dozens that you've done Marco that kind of show the roots of this and Zach to put together some pretty cool clips here I'd like to show that kind of go through both the the Western elements and some of the superhero elements that would end up in Logan and I'd like to start off with the three clips our first clip is from 310 team and I believe that was your first film with director James Mangold and that's correct and an Oscar-nominated score so Marco tell me about what what clicked with you and James even though you know the the score itself definitely played homage to spaghetti westerns and more Coney it had a very different very typical very harsh angry sound that again I really distinguish it from you your kind of typical Western revisionist score well I think that the thing about more Coney that I've always been a fan of is is taking things that may appear in one context and using them in another like for instance sounds that well turn extreme example sounds that might not even be musical in nature and making musical things out of them I think it's it's sort of the whole in the 60s and 70s there was a real push for pushing the limits of instruments and extended techniques and all that stuff because you know harmony had already been explored and all this stuff and these it was trends that were happening in just music in general and I think what more Coney did was he did this with instruments and in this in this particular scene I for instance the rhythmical elements come from using we had a an organ like a pump organ and using just the pedals and using the rhythm of the pedals as being a rhythm in it as well as jar harp and even a a chimes on a clock so they're things that might not be normal scoring elements like he wouldn't use you know they're instruments that aren't used in a normal fashion and I think those that idea of working with sound is something that stems back to my interest in more honey yeah you orchestrated on the I just the main thing I remember about this phone so we were so excited to do a Western but this was you know there's been so many horror films before this and Mark and I are big Western fans so at the same time we were working on diehard 4 and that was a very sort of difficult project but we we would split up the day like half of it would be diehard then we were so excited to jump you know the second half of the day to be about you know I'm just you know a lot of the sounds we just made in this teeny little on the low studio that we had and it's just Mark and I mess around with instruments and processing them and we're excited because well first of all I think every every movie that I do is a Western so no matter what the genre and I approach it like that so to actually have a real question to do is exciting so I think you know another thing that really for me distinguished Logan is this kind of emptiness and beauty of these very tortured characters and again to reach back to that you have a very excellent film that Tommy Lee Jones directed called The Homesman and a very beautiful sparing usual score about this grizzled cowboy hauling these mentally unstable woman across the West and again music that really just conveys this haunted this beautiful landscape and this is a scene that really features the score you know almost solely it's really a gift to get a scene like that where he just the music is conveying so much about it characters who really don't talk very much and again you really kind of pushed your whole idea of sound with this but also there's a beautiful kind of hymnal melodic quality about this that really conveys these characters well thanks same organ what's the question and you actually I believe you have like a de tune piano out out like when in Malibu where you work and I mean we had a lot of fun on this square we had yeah like Marcus just said we recorded we just finished building this beautiful studio everything sounds great and we decided that we recorded the orchestra outside so that the sound wouldn't have any warm surfaces to vibrate off it would just sort of dissipate and Buck created a lot of sounds that sound you hear in the beginning it's a guitar that he built called a harmonic guitar which well you'd be better explaining it but it has that the beginning of the queue I don't pick it out before they go in the water and I think it's the same spirit of innovation and curiosity that spurs both these directors both Tommy and and Jim Jim very much encouraged us in our early meetings to not worry about the picture and to just write ideas and you know I was getting nervous because we had this movie we had like eight weeks and you know we're spending four of them just sticking around writing things and you know at our first session we had a session sorry but anyway what I'm trying to say is that they're I it's that same it's that same spirit that characterizes I think the projects that I most enjoyed and that is you're not trying to copy attempt you're not trying to follow any conventions really but just sort of follow your heart with it's interesting that you pick these two directors because I think the reason Marco got Yuma was because they basically tempt the whole thing with three burials of milk out of Sistrata which was Tommy's film before homesman and and you know he it worked so well did mangled really great at placing music and you know putting a feel that you might not expect to put in a scene and so you know I think he responded to Tommy Lee's you know desire to you know explore sounds and you know sort of be free against what a traditional approach you know a current day approach might be so you know that there's a strong link between those two guys when it comes to that so Marcus actually please tell me how you came into a Marco's orbit I I started orchestrating free on Hellboy that was the first so I don't know we had a there was an orchestrator that used to work with me a lot starting out back with screen same as Bill Boston and he doesn't live in LA anymore but he kept telling me oh you gotta check out my friend Marcus who they went to school together and actually know we worked on a on the Halloween eight together for Danny Lux and but yeah he he mentioned you a lot and said you know you should meet him yeah I think yeah it was after it was after Terminator I think yeah it was right after term I think that's when I finally met and then I first I had him orchestrate a few things and it was everyone was really impressed the guy that I normally use his name is Pete Anthony up until that time you know he's very protective of his own gig he couldn't help but comment on how much he liked Marcus's work and then so you know soon thereafter I realized his talents and just instead of having more sure I just had him write the scores I think the first thing that I wrote on was it was a cursed remember that was a yeah so that was like a West Craven right it went through the mill it was after that and then we actually co-scored a movie a French movie Messering yeah great movie yeah how about you Brandon so I'm Marcus too so once Marcus got too busy then right about the time Marcus started scoring his TV show called the remake of what happened yeah where it is it makes it the most depressing show it ends with the destruction of the world you know but basically Marcus Marcus jumped on it for a little bit then Marcus got promoted then then Marcus left a vacancy and Marcus and I actually went to school so he said I know this guy he doesn't he can help out at least with TV because I was working with so he kind of kind of I just kind of took his spot and then it all worked out so I've been on since since then basically I think the first thing first film idea with you guys was screened yeah yeah yeah so basically our our stables like every project you know it's the four of some semblance of the four of us you know we whoever's doing other things whatever but it's like a family yeah very cool family for good reason it's very sad so now we get into the Marvel Universe and I believe the Wolverine is actually your first Marvel score and it's a very very same character very different film the same same character same director very different film and fairly different score from what Logan is going to end up being but again this is a great example of you know hard-ass superhero scoring I mean what I personally love about that this the scoring of that scene is not only playing this tension in this race against time but it's also really playing the emotion of her trying to save her friend and again it shows the kind of the difference between more of it kind of dissonant experimental scoring and then going to maybe more typical superhero scoring in the second half of that sequence yeah it's actually I've seen that that Brandon worked on and the I remember I mean I can tell from my point of view what was going on and then Brandon speak a little bit about it too but the I remember exactly those things that he's talking about were a difficult thing to achieve we there was and we had a similar situation on a movie that we had done just previous to this called World War Z where there's these zombies taken over an airplane and there's a sustained tension we had to do it and so we were working Buck had created these shepherd tones which were like rising tones that keep going that you know it sort of loop around there's no beginning or end to them and that was sort of the starting point but I think right yeah and then but then yeah I mean what do you talk about it's really long scene right so the idea was to divide it into two major chunks and actually I remember when Marcus first met but sit Buck only talks about shepherd tones that's just that's just a slowly like Margaret says it's like a slowly rising sound and and then I met Buck and he's just like so I was like all right let's check this out so we try to run World War Z on a couple of things but then on this it was like surely you can't get through three minutes of footage with one long sound I mean obviously there's stuff underneath it but you can't so we tried we tried that and then fully coincidentally Mangle the director was really into was it legody at the time yes he got really into like dissonant dissonant orchestral sounds so we tried tried that concept with orchestral sounds and that gets you through the point where she gets whacked in the face and or I would she lose her sword and then the second half of the queue is basically when like you mentioned when it gets into the more traditional action stuff but even that is still based on slowly rising shepherd tone but we just changed the arrangement of it so now it's so but it's all rising so it was kind and we have no idea what he say like no idea because he's the type of thing that some cues are easy to demo their melody and harmony and some things are a little bit harder until you actually hear it it's really hard to get full but he really dug it yeah you dug it and then there was other ones but no that was it was it's also I think you know going back to what Marco was saying about James Van Gould is he he has his musical courage is no problem looking at that thinking that's you know five minute long scene there's it's one by whereas a lot of directors I think are like oh what about hit that hit that that person falls and oh well he doesn't he wants you to at least most of the time he wants it to feel like one continuous by hearing so like you're talking about the emotions of it yeah there's the ticking clock aspect where like it's a race against time and then there's also this this hints especially the beginning of life him digging into himself and stuff and then there was like that whole score was like what a teaspoon of Japanese stuff we were only allowed to use a little bit but yeah it was cool yeah and again you know the second film set in Japan and against fairly conventional stuff but now we get into Logan and you originally you weren't the first guys on it but then you were given the given the score and I guess with not respectively a lot of time to do it and again a very completely a typical superhero movie superhero score what was it like getting something just so radically different from you know the last film and I mean I I was really excited I really had no idea this was even something brewing or I spoke to Jim after Wolverine he mentioned that you know his concept for for Logan was he was going a different direction that he I think that really inspired him when he was writing it was this movie Drive and that's sort of the vibe you wanted and I was like yeah you know that sounds cool that see that and I was way actually recording a score in Russia I got back and right soon as the plane landed when you know you turn on your phone I get a call you gotta come over to Fox and I went over to the screened movie this is just before Thanksgiving and I was blown away I mean it's really it's really good I mean it's basically the movie that you exist now very minor changes were made to it and I thought there was a lot of room for even though it's very textural and minimal score in many ways there's a lot of room for exploration I spoke to Jim afterwards he said the thing that he really wanted was a throw back to some of the scores of like the 70s that weren't maybe so polished you know he that he said everything that bothers him now about scores and scoring is that that everything is really smooth and mixed well and he misses that rough around the edges quality the rawness and he said I love it if you just try working on some ideas not to make sure like I was saying before and see what you come up with he gave me references he said I really like he named a few movies that were inspiring to him yeah the gauntlet and taxi driver and and paper moon which doesn't have a score but the the like taxi driver for instance like if you put that score against Logan it wouldn't it wouldn't really work you know because it would fight a little bit but there is an intensity about it that was inspiring to me and to I think all of us when we got started on this and that was where we took off from we had this scoring session at the village with just I think six or seven players and just wrote some ideas I was nervous because it was really kind of wacky what we were doing and I'm you know a few people from Fox decided to show up and then very soon thereafter walked out first day first action but you were then you were at the board they walk in and what do you want to do the exact turns the other ways and the directors for this yeah I really thought this could very well be our last day but you know we had a great music editor too it's guy Ted Kaplan who would take our ideas and cut them in different places even things that we would like this is you know it's just an idea we're throwing it out there but then he would cut it against picture and it had a really there was something about it that really worked you know I think one of the first things was something that Marcus did called local Logan which is like I mean it's really kind of off the wall again probably inspired by these same ideas it's almost jazz like intensity of taxi driver type thing and after we were like well that's fun we had fun but you know what what's gonna happen with this but the editor actually cut it in over a fight scene and Jim Sony is like this is it's great really works so and he also kept the studio at bay like we didn't have any normally I mean I've done other superhero movies I've done other studio movies where you're playing back cues and you have a room full of executives and what happens always ends up happening this becomes the least common denominator whoever has the whatever doesn't someone doesn't have a problem if there's 11 people someone always has a problem with something so you left with nothing that people like but here we were saved from that process it was just me and Jim and Buck and Ted and we would go in and play stuff and on a weekly basis and go from there so the score had a chance to be a little bit you know and especially here you know some rumors about how controlling Marvel is of their their whole musical sound and this is certainly you know I really dig their scores this to me is certainly the most unique Marvel superhero score we didn't I've never met anybody from Marvel I don't I imagine that's true so we actually have something very cool for you guys no video and no photography but thanks to Fox and Ray Costa and Beth Krakauer we have some footage from Logan that shows the musical development of the score and Buck I had this is totally fresh to me I haven't seen any of this so I'll let you kind of yeah what's interesting is is that the idea three kind of has the the minimalism of the second one but played on a piano but then it ends up the end the energy of the first version so you have kind of both worlds going on there what you know what's interesting to me is that you know when you have a lot of compote is how do you guys end up essentially sounding like one composer to kind of get the so someone isn't writing something wildly different from the other person well first of all one of the first things we do on project is figure out the palette which is besides just York Yorkshire is it's the sounds that we're using like we spend a lot of time when we can taking acoustical instruments recording things and then buck spends a lot of time processing things so that we're all working within the same sound world like I just from the beginning of this you can hear it there's a sound quality to the to the piano and the drums and everything it's things weren't recorded just in a normal way uses like certain microphones carbon microphones and things like that they give it a special quality things a process we so we all work from like the same setup and then I don't know I look people bring different things the table Marcus came up with the melodic idea very early on which was really cool and so we all started incorporating it the kids that we were doing and you can actually hear that in the one of six alts we work closely together you know it's it's not personal and we sort of understand strengths you know one thing that hit me when I saw the film is it's almost kind of like in two parts you have the kind of the western the lone gunslinger first half and then you have essentially the kind of Mad Max Thunderdome second half second half where he becomes a savior and there's kind of a different energy to the score in the film we're gonna talk about that I had actually much more to do with it the first part so and then the second part I was out of my league so yeah I think Mark was right we kind of spitballed a bit see what he liked and everything and then based on what what stuck you know like you try to incorporate everything so the chunk a lot of the stuff I did was more towards like the the smelting plant sequence so I think Marcus kind of as Marcus kind of set the gauntlet in terms of like how crazy we could go and normally Marco does that actually like normally market is something like surely we're gonna get fired and then then they love it and then in this case I think Marcus took heroin or something but either way the end result was was was like like Marcus said he really wanted to go that far with it so so that kind of set the that kind of set the mood for the beginning at least how crazy so there's a lot of stuff at the beginning where I try to use some of Marcus was material some of the material from from Marco and then a lot of those sounds that was making and then some like crazy piano stuff because you always seem to you always seem to like the jazz aspect of it so we kind of did some some wacky stuff with that wacky stuff for the orchestra and then and that's one of the stands where the studio I haven't said I don't know it's gonna push a little too far so Brandon had to do is one particular cue a couple different ways one which was a much tamer version but smartly we recorded both of them and after hearing both you know the rest like I'm gonna fight for this one which he did and that's what ended up in the movie so yeah Marcus how was the gauntlet thrown so well as Mark Marco mentioned before we had a session in December at the village where we had a very you know almost like a jazz ensemble and I think the point was for you to sort of you know instead of doing mock-ups for the directly because the director really responds to like the rawness of the live instruments right you wanted to sort of sell the ideas that the main the main title ideas right so and then we had one that the turn them thing which was just like this sort of I don't know I don't say throwaway idea but it was just like a very short idea it's just like repeating ostinato for Laura right for Laura right to ended up being Laura's theme or their relationship theme with him and Laura or that's what Jim sort of wanted to to use it for and so you know we had we had a session with you know jazz musicians and I thought okay well just do a version for that for for that ensemble of that theme and because we had time I thought you know there's another thing that we haven't really tackled in that sort of the berserker rage that he goes into it right and I don't know it was just like this really really dumb idea to that I wanted to try and it just he just happened to respond to it really positively it was really like I think I remember like before we recorded I said to mark out case so look this could go either way I mean maybe you can say like after the first time you know just just you know we'll move on to something else but it just happened to be really cool the work with it yeah exactly that's because there's a little bit uncontrolled yeah like no no instruments sounded the way it usually sounds like the trombone I think you just made this weird kind of thing for this sounds very sort of yeah I mean it's it's it's sort of this one off kind of thing that turned into the you know that's something that kind of at least from a from a basic sound approach sort of hit what he was trying to do what Jim was trying to do and Buck obviously you go back with Marco you both got nominated for an Oscar for the Hurt Locker for you what was the most challenging part of the score Logan yeah it was I mean it was challenging the sense that you know Jim's very demanding and in a great way he's got very musical ear but I mean I loved it it's hard to it's hard to look back on it as a challenge I mean it was a time crunch and you know if we had an extra month you know who knows you know what else we could have dug up but it's I'd say time was the time crunch was the biggest challenge but creatively as we had a blast I mean for me another cool thing about the score within the film is that you know you've got Laura and you've got evil clone Wolverine and you kind of hope that evil clone Wolverine is gonna have this little moment where he's some humanity comes up but it never does ever how but yet you've got Laura who humanity does come out but who's like this kind of feral animal child this just slicing dicing from left to right through a good chunk of this film without quite a lot of sympathy but how did you want to link these two characters up musically Laura and Laura and evil evil Wolverine I don't mean I don't think we ever thought about linking them you know it's you know Jim really wanted to sell you know the actors performances and you know I mean there are some pretty over-the-top moments musically you know but overall I think the score is pretty subdued especially compared to the previous Wolverine you know so I don't think it was his main focus was really on Logan and Laura that's really what he spoke about and that the sort of paper moon father daughter relationship so it is interesting we never thought about how could Laura affect 24 you know yeah that's a good point though yeah there is a relationship is a way between Logan based on the same thing really same motive it's not really being that's the score isn't very dramatic formative I would say you know and so they're related but Laura and 24 that man I guess technically 24 is her son if she's Logan's daughter so yeah we should then more family stuff you know but to the family it's actually very cool you know that you're all here because increasingly you know on studio technical films there they're you know composers with the team of people writing quite a bit of stuff that the composer does and they in some composers just take credit for that and a lot of other people who work on the score don't get credit and this is not the case here obviously you're all here and it's awesome to have you guys here together very rare yeah it is rare I mean you know what do you just what do you three gentlemen think of that you know just in terms of how people in your position never get credit but here you're all getting credit yeah I mean the kind of seen a few different versions of it all right you know I've been done additional music in a few different scenarios and I come from a pretty stressful scenario and like the first time I met Marco and Buck I walked in I had like my no pad ready I was all like all right let's do this and you know I'll buy food for the week and I'll just you know I'll just if I shower now I should be good for a week and I never forget the first time I met Marco was was and buck so that like he was talking about you know he had that like bungalow and Malibu so I walk in and and and I always heard Marcus talk about them and like oh they're really cool really mellow I'm like I don't understand and so I walk in and Marco sitting in the chair reading a book and buck is just kind of clicking something like drawing little fine things and on probably spending a day on like one second of music and so they talk to me like like it's like so yeah I mean just you know here's a thematic idea and then just try what you want and and then Marco puts his book against any other questions and you know have you know you know when you have time let us hear something and to get that kind of creative freedom for someone you're writing with is I've never experienced it and it's the best thing in the world and and and you had even told me like like Marcus had already been with them for a couple years and talked about how great it was and yeah I think I think it makes you want to work better for them too and and everyone does something I think that surprises everybody else like buck will do something that you just go oh my god and then it makes you want to do something better and then and then but then I think I think the overall vibe is still like cohesion of the score like you mentioned earlier you want to make the whole thing sound cohesive and somehow I think we found a happy meeting but I my experience going back to questions Marcos by far the most you know I did not say this because you're here I don't care which but but seriously he is like the most like genuine relaxed selfless person and you know so I just lucky and and then lucky to this guy for getting me on the game personally so yeah what do you think well I mean I don't know if I can add much to that so I mean the I've been a Beltrami fan for a long time because I love to scream and mimic and the thing is I mean of course he's he's also he's if he's you know he's someone who knows the craft so you know the when you look at the sketches you still the right stuff out with like pencil and paper which it's you know I think it was like the last the last guy to switch from hand orchestrating to finale or whatever it was right so I really I kind of fell and I love the darkness of the darkness of the music I don't know and then yeah and then obviously personally you know it's because I write sorry no no no it's awesome I mean I as I said before it's like a family you know we it's when we're doing when we're at sessions it's always like a blast you know we shouldn't shit with like all the directors and I mean it's it's like a you know I don't know it's it's it was like so there was so much stress on the sessions I'm thinking this is horrible you know this is really this job it's hard enough because you spend so much time in a dark room by yourself you know just look at the picture and all that now so the idea is you know how can it be more fun well it's more fun when there's more people involved than you have you're working together and it's more of a collaboration I mean film scoring it by its nature is a collaboration director of people that are giving input and to me to extend that is makes the next the job much more enjoyable and and when there way when there is pain which there often is well I'd like to turn this over to any questions that you all might have any yes sir yeah that you needed some motion and that would be whatever that was like just watch you the scene it doesn't it's not apparent that it needs motion necessarily but certainly it was really a great element added well in the big picture of the movie it's a big turning point because up until this point his Tommy's character doesn't care who these women whether they let her die or whatever but this moment and he's leaving to abandon them when they follow him all of a sudden becomes like something's awakened in him and suddenly there's a change so I think it was sort of yeah have a question do you do you listen to certain tracks or classical music to use reference for scene like I don't know somebody mentioned in the getty is a director like the getty that we mentioned in Western would you ever reference some classical music or not to go home for me to put it against the picture I much but I really I don't know for ideas in general yeah for I mean for ideas yeah it's it's hard because when you're working on a picture like it's a very delicate balance and it's so easy to get sidetracked here so like if I'm working on something out here if I hear something big oh that's what I should be doing you know so and then I'll I might get off on a tangent and sometimes it takes you down a good path I remember when I was working on some of the guys in Egypt there was a composer very I thought it'd be really good for I listened to a lot and I even referenced to these guys to check out and all but you know it was a little too out there I think but but yeah I I'm a big fan of stealing other people's ideas and next question I call it Marcus I mean it's you're right look every picture is sort of like a puzzle that has to be solved and it can take a long time to crack the puzzle to come up with the elements that are basically essence of the film and the score and it takes some trial and error and I I don't know what the process is exactly sometimes when you work harder things nothing happens and then sometimes when you're taking a crap it all comes to you next yes yeah I guess it's the same question but you know I'm always really impressed by that the simple and yet deep timbers that you all bring these scores and you have four quarter notes and in Logan they could be on 1m 2 way I went in one version to play on a piano I think and then three times you may have four quarter notes played on the pedals of the harmonium or whatever right and how do you get I mean how do you ultimately get to that sound is this happened to you have harmonium and a pair piano lie around if you imagine it and find it or was it yeah a lot of that's like bucks are we searching for ideas the way we record the score was very important the things that we record right and then I mean I think that many says there wasn't enough time to work on the scores because he was constantly developing the sound of it like for instance we had instead of using regular percussion for this we use drum kits because we thought it would give a certain intensity but we couldn't just use just really drum kits because then it would sound it would sort of take us out of the movie realm so I'll spend a lot of time making it sound processing yeah I mean you know if it's a director like Jim has got a very strong idea you know we usually come in so late in the process of a film a good director will really have a strong idea of the feeling that they want and so it really helps I mean when we start really early on a project I think it's a lot more sort of you know just really throwing stuff against the wall but a greater sense but it really that really helps and usually they'll tell you what they like about the temp you know if there is a temp and so it's usually some good guidance you know it's not completely blank universe so just talk about the temp for a little bit like how does that affect your process if you go if there's a lot of it do you have to back out of that or what's the negotiation of working with temp music because everybody's throwing stuff in it's disjoint I'm just kind of curious how that process works usually listen to it when we first see the movie then turn it off because you want to have your own take on it and the thing that temp rarely is able to do is carry a emotional arc to picture work good for this scene or that scene but it doesn't take you on the whole journey picture so once in a while if we can't figure something out or whatever we have they solve that problem but most part I prefer I think these guys too to watch the picture once with it see the effect but then so my understanding of things going is that there's it underlines what the image is but there was one particular scene I think that is the queue the monitor in the moment it really struck me like I my attention went to that heavy piano and you know there in the movie while you're watching the movie while I wasn't watching but I thought that it was so cool because from that moment onwards I was like okay I'm watching something different I mean a different treat then you have so how was that decision of that putting that strong there well I brandy to talk about that but again this was something that we talked about when early on as a conceptual thing and then this is the queue actually where we had to record two versions of yeah and it's funny you mentioned the piano because I think I've become convinced that life is like a it's super messy and like you see the end result right and you think you think maybe that we all sat around this you know what it means okay so at the recording of that everyone like the music except they said like all the executives and we got here rid of that piano I mean that that's ridiculous so we so Marcos and Buck like well let's record this thing anyway right so we get so so we record the guy playing this ridiculous piano thing we probably spent what like like an hour and a half making the piano sound a certain way all and as we're doing it all we're thinking is they're just gonna mute it they're just gonna cut it out so then Marcos and I go to see the movie together and we have no idea what the end results gonna be right so we're sitting there and all of a sudden I just hear the single loudest piano I can barely hear there's like like 65 other musicians like they must be this low and all you hear is a guy going like that so so you never know the end result so so in answer your question the piano was always in there I have to be honest it was supposed to be a little softer so but in the end he in the ends the exact opposite of what we thought would happen happened which is everything else came down in volume and someone said you know what this thing needs piano and that's what happens so there's no and a lot happens at that at that final dub when they're finally you know like putting everything together a lot of changes happened at the last minute and that was one of them that that was very unexpected so it was originally intended but just not at that volume level but hey you know there's also the we did an alternate take where Randy Kerber was pianist and we had him do it on a B3 organ it sounds like somebody being taking a I mean we had him do it twice it was so much fun to sit there and listen to I should have brought that that whole limo scene that whole scape he basically had a B3 and he was just grooving through the whole thing and it turned it into like it turned it in like 1970 spider-man or like it would have been the coolest scene ever like that didn't make it like a home again that scene now the question I never want to hear another drum in a film score so over the the big overproduced drum thing but you know it's it's hard to fight it you know when they ask for it you try to pay that much attention to that yeah we're always looking for you know what's gonna be the most what's what's gonna make us excited to work on something so well you know explore you know recording outside you know using unusual elements and trying to get the ball rolling with that kind of stuff because you know I've been with Marco 20 years now so it's like it's sort of hard to define what it is I do sometimes I write a lot sometimes I just work on sound sometimes I really focused on the recording aspect of it so I you know yeah like I'll do like pre-production of you know working with sense or whatever the sources are so I treat it more like the idea what a record producer does like where they'll sort of have a vision for how we can approach the music you know and the score so I've seen the credit elsewhere but I have no idea if that's if they are approaching the same way if it's more of a sort of technical you know logistical sort of job or I if I think too much about it I'll draw myself crazy why just whatever the hell I don't care you know it's just pretty sure it's fine luck is also our sharp shoulder to cry on yes yeah the overall sound but you know reality is her like coast or sometimes it's hard to separate the production or the sounds like the creative processes involved with some of these things it's one of the same you know so like a movie like this really is a coast or and you know in a perfect world it'd be four days on the main thing but there's a whole bunch of politics that are involved as well so well it's a perfect world of creature features and I guess my my last question is what does Logan mean to you do you think the free to be what does Logan mean to you do you think it's a game changer in terms of a temple superhero films and scoring I think it's been it's been so many superhero movies coming out I think it's been almost like an audience backlash to the formula that has been created and it's so successful but it's like just like anything it's a little tiring and the fact that Logan didn't follow a lot of that you know it yeah it's a superhero movie but it's also many other movies as well inside of it and the fact that the score didn't have to follow any really any of the conventions either is very encouraging I think it at its best you know studios will say oh yeah we don't have to make movies that follow any formula we can just be creative and make you know a movie for its own sake you know obviously that's not gonna happen but it's that spirit which I but what do you think I certainly hope it's inspiring you know for studio exacts and you know directors I it's I still don't quite see it as a superhero film you know it's it because it's so such a strong character piece that I don't see how like you know when they're gonna work on you know a big Avengers or Justice League kind of thing that they're gonna say oh let's make this like an intimate character piece you know because it needs to be gigantic but I mean I've looked I really loved the film you know it's just it was so easy to work on because you knew the whole time it was really good so I think you know it's it's pretty rare treat to to think of the movie in such a great way where for me it goes beyond the music you know we're usually so focused on the music and even if we're not that into the film we can be really into the working on the music and on this one you know it was it was a nice change to really believe you know so strongly in the whole the film as a whole Marcus I mean exactly what these guys said I mean I I think it was the first movie in a while we're maybe seen like a hundred times or something now it's something that it's it's just such a solid movie to start with that it just happened to be a superhero movie that was something that I really thought was extraordinary I mean yeah I think you know when you start at that point then you know all the stress and all the you know all that stuff that comes with working on it under such time constraints almost become secondary you know we saw it when I first saw it I really I was totally blown away by it and the impact it had and like I was thinking about it you know days after I watched it and I thought it you know it certainly helped sort of inspire you know ideas but it also seemed to you know kind of put into perspective sort of where we are at you know in the scene that the industry as a whole because you know comic book movies are just they seem to be just one certain thing right and it's something that I asked Jim at the sessions to because I was like so how how do you how do you accomplish making the audience really care about the characters right and he sort of broke down it's like you know usually it's there's like six set pieces there's a you know 15 characters and at the end of the day you have like three minutes to spend with each character to develop their character right through dialogue whatever and in this one it's it's basically just about him and Laura and it so you know just to have the luxury not to have a gazillion cameos by you know other you know and I think you know in a way that's sort of what a lot of the you know the comic book the hardcore comic book fans and Marvel fans were sort of criticizing on it he's like oh I wish that whatever Saber Tooth would have been in it or something like he kind of made a point he said this is not a movie that's supposed to sell happy meals you know it's something that's no that's what he said like this it's not a movie to send to sell like you know action figures and happy meals so which I think you know it totally and yeah it could have gone a completely it could go on totally wrong right there we could could have been you know but I think the also the studio just had the courage after Deadpool to to make it right it are you know to actually really to go that to go that route right I think without Deadpool it would have and I as I said before you know it's a Fox movie I don't think Marvel would have ever done a movie like this I agree with you guys I agree completely about the Deadpool thing I think Deadpool kind of the timing was right everything was right like I think I think people are a little burned out by like I can't watch I was complaining to Marcus about breaking the rules of physics if I see any more superheroes breaking rules of physics I can't I don't know why it bothered me so much but but I I think the there was also this this when we first watched this feeling of like oh wow the Hugh Jackman and obviously Professor X they've been like a part of our lives for like 15 years 17 years so I think there was this kind of feeling of wow they really paid homage to that whole lineage whether whether it was whether the movies were good or bad either way they were a part of the least us growing up a little bit and so it was kind of neat to see it done well so in it kind of pushed I think probably all of us to be like oh wow this is this is yeah this is worth doing you know putting everything into you know in a month well a great job guys I want to give a big things to Zach tell Taylor why the creature features Lakeshore records Beth crack hour rate costa and Marco buck Marcus no Trump and Brandon thank you very much for coming you