 Thanks for coming out today for the CD launch party for the Twister store. My name is Tim Greaving. I wrote the liner notes for the soundtrack. And we're looking at the composer, Mark Mancina, and the director, John Vaughn. Coming out, guys. When was the last time you guys saw each other? That's why I'm trying to think. It's been a long time. Maybe eight years now? Yeah, ten years. It's been a long time. He's catching up. We have the same color hair now. Do you think it's been 21 years since Twister came out? Except that his kids are brought up. Yeah, that's kind of it. The thing about babies when they're moving, it's made. They're running around the studio. They're now 25 and 26. So, there's a lot to talk about. But I wanted to start at how you guys ended up working together and meeting. Which was on speed. And you went to get Hans Zimmer for that score. Because you thought he had done true romance. Yeah. You thought you were in true romance. Yeah, actually the reason I liked that was because it was a very unconventional score. And at first Peter was also looking for a very unconventional score. Meaning if you listen to a lot of film music, it tends to be all big orchestras. And you have the couple of themes. And then, you know, they get endlessly repeated. But I wanted to also have a different type of instrumentation. And I know when I met Mark at Hans Zimmer, that he was also a record producer and a musician. And I really wanted to get elements of rock dance in my score. Not just like only beautiful big orchestras, but always basically. Because this was going to be a rough movie in a city that's full of, you know, it's not all about pretty things. It's about all about rough images and life in a way. It's not necessarily always a romantic or beautiful play. So I wanted to get a rough side of it. And Mark was amazing in using all the different kinds of instrumentation. And we also looked at some different apps. And we used electronic things as well. But that's the main thing. The whole movie is one big long score. So one big, very secret. So how in the hell can you make it interesting for two hours? And can you, so that the team doesn't become endlessly repetitive? And how can you, and also that still tells the story. Because the music score has only one function. That's basically, that replaces the dialogue. Where the story cannot be told by dialogue, the music will take that place. And it's needed for that occasion. So then we started talking about what can we do to keep that one drive that endless chase. How can we keep it exciting. And still different sounding. And I think that's a lot of that. It's also a part of the different models you create. There's also the instrumentation that's so, so exciting. It's really a hybrid. Yeah, exactly. Well this guy, I wouldn't have a career if it wasn't for this guy. Because this guy stuck his neck out. My side of the story and his side of the story were probably a little different. Because the studio did not want me to do anything. They had no interest in me. Because I didn't have a question about that. And so they kept calling my agent and telling me to stop. That I was not on the movie and I would never be on the movie. And then Yon would be bouncing over to my studio. And go, alright, so let's hear it. And I'd say, but they told me I'm not doing it. And he'd say, don't listen. Just keep going. It doesn't always work, but sometimes it does. So I was really confused. But I just believed in the movie so much. And what Yon was doing. And I kind of kept going. And at a certain point I realized I think I am doing the movie. I think it's going to work. I swear I'm going to do the movie. I kept getting told I wasn't sure. But everybody in the world didn't want to use an unknown. And he had this great film going. And he stuck up for me. Which does not happen in this industry. I mean you guys know that. People don't do that. But he did. And saw through to the end of the film. And it changed. Everybody that was in that film and me. It changed our careers. All these people took off after that. And that's his vision. So I appreciate it. Yeah, but it's also. But if you still remember the movie. I mean I have to say I kind of forgot. But I had to look at it again. To really remember all the scenes. And then I actually noticed how exciting it was to really see those endless driving scenes. And the driving scenes. And how the many variants he created for me. That kept every scene original again. But if you really look at the beginning of that movie. Basically it's the elevator scene. Which is a 41 story scene. Where basically the camera goes from. From all the way to the top of the building. To fill your basement. That scene is, that shot is. I think 29 minutes long. And that has all the scenes of the movie. In that one piece of score. That's all beautifully done. That's all beautifully, the change. It was really a score. It wasn't not a montage I think. He really made all the themes work. In one particular shot. And then if you, once you know that. You see the movie. Oh shit, yeah, that was there. That was there. So he came up, you came already up with the score. And I think that's why. Also the studio really liked it. When they saw that. That first part is, I think to me. Is the core of the movie. Because it really. Because it prepares the audience for what you're going to see. What is always going to be about. And that is pretty unique. That you can do that in one piece of music. So I, that to me was like. Looking at it again. I think was actually a revelation. Because I didn't remember it as well. I know because everything was done so quickly. And roughed it a little bit. That we, the score, everything was mixed. Maybe about two weeks before the movie came out. So it was all really, there was no time left to really take it all in. And now sitting back and looking at it again. I think it's a really, really exciting score. If you just look at it one shot at the beginning. Because it's musically, it's fantastic. Very quiet. So you had a good time on speed. Did well for everybody. The next project you possibly would have worked on together was Godzilla. Which you were prepping in direct. And that would have been an interesting. What if for you. But it didn't pan out for various reasons. And Twister came along. And your first exposure to Twister was on the set, right? You had to actually visit. So this is great because I don't remember what scene you were doing. You might remember. But they flew me out. Iowa? Yeah, I think. In many places in Brassica, Iowa, Oklahoma. So I show up. They flew me out to this big field. And I see this red truck. And I see this crazy guy. Under the truck. Somehow harnessed somehow with the camera. And they're flying down the road. And there's big wind turbines blowing things across. And I saw all this. And I was like, this guy is crazy. I didn't realize. He was a cinematographer. So I didn't realize how hands on he is. And how he's willing to put himself into those things he wants to get the shot he wants to get. So the amazing shooting on that movie and Alan Spee, too, is due to him. But I just kept thinking, oh man, I'm going to have to write some really great music to keep up with what I think I'm seeing here. And if you know anything about his career as a cinematographer, that was a calm day at work. That was a great day. That was kind of a boring day at work. Yeah, that was one of the more relaxing days. That's Amy. Because even if you look at it right from the the first tornado, you know, it's like you have to remember a little bit. I realized that in those days computer generated images were not so well known yet and there was very little experience with it. And normally you do it always you put a camera steady, cannot move the camera, and then they can change it. But that's not what I wanted. Most of the movie shot handheld. And they all said, no, no, no, we cannot do that. And we talked to many visual effects companies and none of them wanted to do it because they said, wait, we don't know how to. And then finally ILM and one particular guy from Fangmeier who was basically the designer of it he said, okay, I think I found a way. But that still then took six months to really get this far. So to get a movie like this to look like basically like one long documentary is it is visual effects. And those days was unheard of and quite amazing. And basically ILM lost a lot of money on it because it took almost a year longer to get all the effects down because they had no idea yet. They had the infant software to really get it done which is really pretty amazing. And the particle system was not used everywhere by everybody that was designed for that particular movie and for nothing else. And we would have never been implicated to. Every tornado has about 25 million particles and they're all individually moved. So they totally underestimated how long that would be and how many tornadoes are wearing a movie and how long the shots would be. That's all because every shot a shot of four seconds or a shot of 25 seconds, that takes eight times as long. Simple like that. So it doesn't matter how long a shot it takes per frame, it takes the same amount of time. But anyway we have to get back to this point for that because it is I felt like we had again this is a little bit chase but it's a competitive chase and there's a lot of drama in this movie. So let's talk to might be we have to get a lot of themes here and a lot of things that we have to because there's not always dialogue there there's like I wanted just a lot of the stuff speaks for itself and I wanted to be like real tornado chasers, that's what they do. They sit and cut them cars and drive as fast as they can, try to be ahead of a tornado behind it. And that feeling I really wanted to recreate as well. And therefore it looks like rough and hands out and so like a but we had to create themes because there's actually a lot of themes happening now. There's first of all like a main theme which is kind of the dark old theme of the movie which you see with the helicopter flies over that weed field really long shot and the pants are closed and the two guys are having and building a car. That is the main theme of the movie. And then from there almost everything else changes. That theme I think comes twice more in the home world. It comes back to the very end. But everything else is basically you have a theme for the twister, a theme for Bill, for howl. You have a theme for the competition, for the urgency, for the destructive part. So it's all, there is a lot more themes than we both imagine but that's why I was a little bit worried about that but then Mark completely convinced me that now that's exactly the way we should do it because we cannot treat everything the same way musically. And he came basically for every twister about a different theme. If you listen to the movie carefully you notice that it's all different. There's not a single part the same way. And also the instrumentation and those long guitar solos that are in the score. When we hear guitar solos that are howling. Trevor did something. Trevor did something. And then we had deep purple in there. That was interesting. He gives me that aside. There was a child in time by Deep Purple. It was a Oklahoma and it was a William Teller which are superimposed on top of each other. And there's all one one composition the whole thing. It's all going at the same time. That was crazy. That's fantastic. Let's bring it down a little bit. Start with that opening theme what kind of led to you writing this kind of Aaron Copland theme? I love Aaron Copland first. I actually got to spend time with Aaron Copland when I was in college. It was pretty amazing. When I saw the dailies and scenes from the movie I felt like this movie is going to last a long time. I hate to use the word but it felt like a classic. I felt like it needed a classic theme. It needed something really legitimate to hold it together and make it deep. That was one of the first things I wrote was that pan shot helicopter over the wheat fields. I just wanted to give it size. I wanted to put us in the middle of America and I just wanted to give it a character. But as he says, it sets you up that everything is wonderful and great and isn't this amazing and wow, this is exciting but things are going to turn bad real soon. It's awesome. It's a beautiful landscape too. And the beauty of the land and like you can see in a lot of many movies that show those different states it is really beautiful and that's the whole part. There's not the structure made wrong so let's really make it look as beautiful and have the score really support that. Exactly. The Oracle, everything. But still, there's always a little bit of a sense that something is going to happen. I think so. John, why did you want kind of a rock and roll? I know that was something you had asked for specifically. There was electric guitar and kind of a rock influence. Why did you want that flavor in this score? Because I think with those instruments especially also this percussion there's so much you can do and the rhythms in percussion in all the different scenes is completely different and quite spectacular in my opinion because it really creates a feeling of not only incredible drive and impact but it really already sets you up for things that might happen and so it creates a sense of excitement but also danger and really most importantly it keeps that speed, that drive and the movie going non-stop and without it being repetitive. And you mentioned to me that you feel like a lot of film scores are kind of removed from everyday life if it's an orchestra or something and it was important to have instruments you actually hear and on the radio and stuff as part of the score as well. Absolutely because I don't know if anybody has ever driven this to Native Chases but they all play loud music in their cars, really loud they have big bass speakers and that's all they do so I thought well that's what they listen to we should have that as well so there's a lot of source music as well there's a lot of songs that we pick because that's what they listen to there's always basically source music when there's dialogue and the score, the moment of dialogue and stuff because then the score is continuing to tell the story and builds them on the dialogue and that makes it actually a really great mix so you see a lot of contemporary and this is a lot of contemporary score but I mean and some a musics also composed by the way it's not only source music so it's really extremely good combination and it feels more alive anytime when there's a big score I mean I love scores but in a movie like this it wouldn't work it's too it can become too dramatic and too overtop too quickly and there is a build that's very hard to sustain for a long time but if you use contemporary music and especially rock and roll or then you can really mix anything. But you have a lot more tools in your tool box. Yeah, exactly Mark, your phrase when I mentioned some of this was that you thought rock and roll scores can be corny. It can be So how did you avoid that? I don't know if I did I think I did but I don't know How did you go about infusing that ingredient into a kind of traditional orchestral film score? Well the one thing that can sound really corny is real bluesy guitar if it's not well done it just can sound dated with an orchestra not really blending together I try to keep acoustic guitars rolling through a lot of the score strumming like you're not saying it's momentum is what you want out of the music you don't want an audience to ever feel lowy so the momentum can come from of course it can come from percussion but it can also come from acoustic guitars so I played with that I have a lot of acoustic guitars in that score and you played a lot of the acoustics I played a lot of the acoustics I think the electrics were Trevor and I don't remember I had another and I can't think of who it was The electric is used really creatively you have that whale song effect near the beginning you have some more traditional rock out wailing electric guitar but there's some really cool you do some interesting things with it I want to make sure I don't do something that sounds like oh remember that two years later it's coming I didn't want it to sound that way I think the instrumentation especially the guitar sounds it is quite unique because it's a little like the voice of the tornado a little bit because that howling sound if you've ever heard a tornado or it's a not a day sound really overwhelming and then there's some really streaking sounds that go right through that like I said metals bending and those things aren't that where the guitars are because they are like really perfectly in that so that's why I think it was such a great choice who's idea was it to kind of score the tornadoes and cells to acquire and live this idea wasn't it to take credit I don't I think you should I never thought of it but then I really when he started listening to me actually that makes completely sounds because tornadoes always have names and they quite often they give them it's not just an F1 after they give them it's a amelia or if they give them people live there they all give them those tornadoes and names and they became those things come personal and I think the choir the voices in it is also you hear that in the beginning too in the opening of the movie when you get the credits and that building is building score beautiful and there's sounds in it that are a lot of sounds of of mails of the beginning they see a very high all mixed together and some Hawaiian sounds too but it's all together it makes for an incredible like a little bit like a it becomes an individual it becomes more that it's just not just a one note each thing the tornado had you worked with choir much before that well I guess baby in college but not we had the alien master corral so it was pretty cool pretty cool and I had Don Harper who I worked with for years and years and he was conducting you know so it was and we did a lot of we did a lot of clustering effecty kind of it wasn't just traditional he mentioned this earlier but in terms of trying to actually not just show it all the front but actually escalate with each tornado how did you how did you get any choir up front you know so I waited I held it off and when you start to first few tornadoes you get little tastes of it it isn't really until the drive in that was so much fun to score that's like a dream score when you get to do something like that because the scene already worked amazingly without me so I just was able to add to it but that scene would be nothing without the score because there's no dialogue right there's no dialogue and so you replace the storytelling with elements and music that tell a story and that's what was really needed and necessary so that you can create a build you can't just do a level of scoring now it's really still that's the most important thing of any score is you continue telling a story and the music has to do that if it doesn't do that it doesn't have any function anymore it's also if you listen to the drive in music and this doesn't always work so it's not a formula but the tensions escalating really a lot and it's getting really tense if the music slows down it's even more frightening than if you just speed up with the film speeding so it's big long sweeps of chord changes very slow like tornadoes they're just threatening pulling back a little bit so it's got this menacing feel to it so we just listen to it and just put it on and take a shower and walk down the aisle it's pretty threatening I actually have that scene queued up but I seem to have lost my can someone grab Taylor and see if he has the Apple TV remote and want to play that so we can get a nice feel for it it's so pretty sad about that you win the prize alright so yeah that's a great example because you have all this momentum throughout the score but here you slow it down in that sort of glacial end of times it seems like the gravity and the majesty of these weather events I think there's one other thing that's important to know and the reason that I think the choral voices work so well here because it's also incredibly beautiful to look at I mean, as you see in tornado it is fattening, it is overwhelming it is really, really spectacular and I think there's some to the beauty of seeing the tornado there's also kind of this the voices help that making come alive as well because I really wanted to showcase that nature and it's pretty beautiful too I mean, that's only powerful but in its power, it's really extremely beautiful it's almost religious in a way you can't keep your eyes off but it's horrifying so I imagine you were working with rough effects when you were writing they didn't sound like that so what did you take inspiration from to find the score what on the screen or just conceptually were you going on to to find this music well, I mean, there were certain sound effects on the the different versions of the film that I was working on so I kind of knew I knew that I was going to be up against a lot of stuff so I tried to write to make it work with that stuff going on instead of writing something really thick and dense and then realizing well, they just have to turn it all down so I wrote it over here to swell because you can if I was playing throughout that you probably wouldn't hear it I think each scene was inspiring because of what the scene was about, that one was so much fun but there's also a different emotional scene in the movie between the two of them relationship situation and that was really fun to write but they all required different speed had a main theme and then it had a little a little riff those kind of kept things a little faster than that it's an older version of that it kind of kept things going but this movie was, it kind of kept evolving so the music kind of needed to kind of keep evolving one other thing that I was interested to talk about is that when you make those movies that there always is at the end a huge fight against between all the mixers the sound effects creators and the score and I really wanted that I knew that was going to happen and at the same time I wanted all the sound effects but is to find a balance so what the way it is mixed is they all get a turn and if you listen carefully the music never disappears when you need to hear and they come right back when that theme is open so it's a really nice balance back on force and so it's not like a battle, it's not like we were trying to fade away the music, no, no, no it's right there when you want to hear and the sound effects are of course as important as music, I mean sometimes sound effects become music and sometimes music becomes sound effects with little things in there so they can really work together very well and this movie I think is to convince all the mixers that don't push your thing forward, don't do this really the point is we have to hear them both and you have to hear them all at the right moment and that was a little bit of a battle I have to say because there's always a lot of sound mixers involved and this sound team was pretty massive with these 30 people and what is it interesting, but I think it's like if you hear it over big speakers nothing is fighting each other so even he can hear actually in the smallest sound effect and you can hear all the score, you can hear those long building notes and there's nothing it all has its place you got kind of typecast as an action guy after these movies and that little bunch of those what was special about working with Jan we're talking about like the balance of sound effects versus music and themes and the ability to well he loves themes so you know praise the lord for that because that seems to be gone in some respects it's very hard for me because I grew up you know listening to Andy Marconi and all these amazing composers that are thematic and it's hard to write good things it's very hard, so I miss that, I love leaving a theater having seen something and have that theme in my head I like that feeling and I like being able to associate a theme too in the movie there's a lot of fear of that nowadays I think that a lot of directors feel like yeah but if that way then when they hear that theme they go oh yeah it's kind of dated feeling you know but I just don't think so I just think when you hear Writers of the Lost Ark man you know what it is so I'm from that school there's different schools that's the school I'm from so Jan was very much into themes if I would have just played him a wall paper which is what I call it which is just stuff he wouldn't have come for it he would have said well where's the theme? I agree totally this Mark in that respect I think because when you look at the movie you want to hear something that keeps everything together the writing, the dialogue the visuals, the score and it becomes like one one one basically memory that should all belong together and not just like oh I remember a little bit music be a little bit that would be good for any movie like let's say if you look at Dr. Shivago or David Lee movies where the score can by itself tell us a whole story I mean like you can the scenes at last five are even longer but it's only score and there's a lot of those movies that and that actually helps to tell the complete story so there's like one voice through the whole movie that is coherent and that really moves forward to find out ourselves in some ways Twister is the end of an era of filmmaking because you have so many we're talking about cutting edge digital graphics and stuff but you have so much practical physical sets and explosions and all sorts of things on camera and then this sort of like beautiful theme and variation score for action movie like it's just it's not dated I don't think but it's they don't make movies like this any more kind of a unique but then actually they help each other too because I see it in a split second on any movie if it's digital or real or on camera and I wish I didn't to be honest but it's impossible for me to not see it but what I was trying to do is they make them inseparable that they are they look like one thing so when you see those combined in the sky and there are real combined is what we call the sky hanging from helicopter and there are other times there are things that are totally in the sky made visually by visual effects and then the effects on the ground are totally real so the combination makes it for a much bigger event and like when for instance when the car is driving through the hailstorm there are real eyes and it really hurts as real blood but so by doing that, by mixing it up evenly it becomes like a miss vocal here in the movie and you're not distracted by either sloppy effects here or quite often even visual effects are not always done very well so you're kind of making it so that it becomes one movie where you really don't you don't want to see and recognize and that was a little bit my goal behind it all but that movie is too expensive Mark, I know like actors say it's easier for them to give a good performance when they're like in a real location versus surrounded by green screen or working with some white balls over their face and stuff as a composer do you have more to are you more inspired or is it easier for you to write music when you're looking at real stuff like that versus I need to work a lot on animation I think going to the set is really valuable as a composer I'm not in the process that early usually with a film but going to the set and really seeing how much they put into just this it would be as if they sit with me as I'm writing the score and then they realize whoa that took you 30 seconds took you three days that's great that's how it is for all of us and I think it helps to understand more of filmmaking what the director is going through to get this to me possibly the back story too the way that something is cut together and what the director might be seeing it might not be in the temper it might not be able to be communicated it's really hard to talk about music music is a weird thing I just wanted to tell you two really quick funny stories maybe one's funny but you have to understand this guy so he calls I'm working on this he calls me and he says oh you got to go over to Eddie Van Halen's house I said Eddie Van Halen so I go drive over to Eddie Van Halen's house and then Alex and Eddie are there in the studio and they want to play me a song they're writing for the movie what I don't realize is that Eddie get here very well so when he listens to music it needs to be loud but I listen to music loud but this is not loud like you have ever heard before so he's like Mark listen it is and he turns this thing on the pencils come off the console my hair blows back and it was just like I was hearing like it was so loud I couldn't even hear what I was hearing and then after he played it he's like what do you think and I went wow I was laughing and so Alex was kind of the translator so Alex said no that was too loud Eddie you can't listen to that loud turn it down a little bit so you can hear and another thing he did one day was he called me to come over to a dub stage somewhere he wanted to show me the trailer do you guys remember the original trailer for Swister it was a mindblower and it was the first time anybody had ever done it because it was completely black and then you see the twister and it's completely black now that kind of trailer we've seen now a million times but this was the first time it was done so that had again he showed it to me because it was so exciting but I went back to my studio and it was like okay this is gonna be really great I gotta make sure these scenes are really great I gotta really pump her down here it was just inspiring in that way let's take a few questions that you guys have any and then we can wrap it up and move on into the so did you actually get to see it real 20 years ago you mentioned it it was a long time a little too long but yeah the thing is that you actually really in the beginning before we started shooting we went there's a lot of those tomato chases going around the country and they actually know where it's gonna happen which is really scary but what I never believed when you see those guys in a movie they suddenly left turn into the field or they actually do that and that was scary to me because listen I mean like I don't know the idea of gullies there or bridges or they just go right into the field towards the tornado and wait till the very last moment and then they quickly turn around it's like that one was I mean it was only a second F2 and F3 which is still really big if you close by I wouldn't say that I'm really really loud so yes I think that's why I felt I had a really so that thing in the garage that sequence that's how it felt like to me it's like so overwhelming it is I want to make sure that that would come across that it is not so artificially created tornado but it's really it is you have all those flying debris you know it became like a slogan in the movie more debris, more debris because I always wanted more and it's pretty stunning if you see though we have like those big jet engines and gigantic wind machines and all that at the same time and full of special facts in the background so everything you see in the fog is always real you know when they watch for debris it's kind of a real debris and sometimes it hurts a little bit when it hits you and so the actors I mean regularly pity theirself but but at the same time they could see when they saw it then they saw it was so real they said yeah but it was real because it was real you know it didn't look real because of I mean it was real because of really the debris and I tried to make as much soft debris as possible meaning you know nothing to steal in it it reminds me I was in Nashville about five or six years ago did you guys know about that massive tornado there? I was right in the center of that tornado with my friend Marlon over there and what I remember about it was it was getting so scary and I asked somebody in one of the stores and it was like a little strip of drug stores and things and I asked one of the people that worked in the store it's going to be a big tornado and she said don't worry about it unless it turns green outside and I went green and I went going green in this movie they say it's going green I never knew what that meant in fact one of the pieces of music in the store is called going green but I never knew what that meant until that moment and then it turned green and it was like it turns green and then it comes and it's beyond frightening it is this atmosphere it's basically a combination of ultraviolet and how do you call it for that when the amounts start to differ very dramatically and if you mix those together it's about green it really goes green that scene that's in the movie that actually did go green so it is not it's not that green like the most on that but it's green it's not green it's a real green but they call it green before I get to the question I just want to tell you that scene where they go into an unmade house and they have that steak and eggs that has become like a tradition for me every time I watch that movie I have to have steak and eggs they have to see the effects on me I looked at it they throw that steak down on top of the eggs that's a gigantic steak and I go man I like that the question is how many cars would be able to destroy in this movie give us the red truck give us the red truck I think the red truck we have probably 15 to 20 the other trucks multiples like 4 or 5 beats I mean then you would see a lot of flying cars of course once they fall they're done for they combine this for real so once they fall down they're done for those I think 15 several helicopters they play this for real of course I had to play the quality the scene before before the car shooting into the into the garage that's a real car on a wire going at super high speed into the building very close to the reactor they're not close enough to hit them I don't know let's say in speed I know exactly how many cars we destroyed close to 270 I think all together you beat cars and how many cows no the cows you can't talk about the cows but actually we saw a picture of the car once that's why it's based on a kind of tree wow we've seen where you grab the camera on a speeder you're on top of the subway with Keano right in the middle of it in filming either one of those films what was the hardest thing for you to achieve with the camera in your hands well the thing is that I've been a filmmaker for a long time I always tend to talk to the actors when I'm filming so even if they're dialogue they can see they can lip read me and say a little bit more and I'll do it again because quite often the director says and I know it's not good so I said do it again and I will keep shooting until I think it's good and then we stop so I have some directors love it, others don't like it that I just keep saying it has to be over in Africa but what I really want is that I see it's always the actor and I want to see that initial reaction on whatever event happens and that's why all those reaction shots I always don't mind myself because I can see you cannot see on the screen on the little monitor how actors react to some possible they couldn't do it for 50 years ago they still can so you have to be this close to really see if it's a fake reaction or if it's a real reaction and the best thing is to never really tell the actors exactly what's going to happen so then it's quite often more real but if you don't get it you do it over and over again and I think that's because they don't know what I'm looking for it's so hard to express what is it that you really want for an actor and because I worked on so many action movies before that the dialogue was always the same that's always the same thing it's like about 20 or 25 short lines they have for all action movies and they all use them every time over and over again look out but I tried to avoid it because it's much better to see a reaction of a face without having to scream and that works much better than just using one of those incredibly repetitive lines do you have a question what was it what was it like working with some actors actually I was lucky because initially when Keanu was I wanted him for the movie but I did not know that he was afraid actually he looked in the movie like he's made of gods and like he jumped from car to car man he actually didn't dare to do that I had to really show to him and jump from car to car and tell him listen if I can do it you can do it too I guarantee you I took that scene with the Jaguar that you were getting it took like almost a day to get him to gas from the car well basically when you both go the same speed it doesn't matter you are stationary so basically you're walking from day to day but if the streets fly by and traffic flies by it looks dangerous but it is not as dangerous we'll do one more Mark what was your favorite film to compose so far you know that's a tough one because different films at different times speed was a big deal and really fun and it was kind of a breakthrough so that was really important August Rush was really fun Moana was really hard probably the hardest I've ever done why would you say that it was developed over three years and Lynn who I wrote the songs with was in New York and became the most famous person in the universe during that movie and the other guy was Opataya who lives in New Zealand so getting everybody in Carmel was not easy and I was trying to get I would go to New York, I would go to New Zealand it was really geographically difficult and I didn't finish the story until pretty late today so it was a big street these guys are going to be studying CDs in that room back there I want to thank both of you guys for coming out