Word: musics
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Dates: during 2000-2009
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...process wasn't that much different than Heat - the only thing that was much different was that I had a little bit less latitude in a sense of orchestration. Because Heat was in a contemporary setting, one could utilize electronic music - amplified guitars and drum loops and all sorts of innovations. But with this movie, everything for the most part had to sound acoustic. Once we put in electronics, amplifiers or electric guitars, it didn't sound right...
...script that intrigued me was the collision between the rural Dust Bowl and the new, shining, amazing city of Chicago, with all that amazing architecture. You can almost imagine Steinbeck's America, Grapes of Wrath, in stark contrast with the high fashion of Chicago in that period. So the music in that way had a dual origin. (Read TIME's interview with A.R. Rahman, Slumdog Millionaire maestro...
...Given how many gangster films turn into thrillers and joyrides, I was surprised by how restrained some of this music was. (Click on the audio player at left to hear clips of the score in TIME's podcast.) Does that tie back to what you called these "stark" times...
...other thing, dramatically, that affects the music: Dillinger was from the old school, and he came up against organized crime, which made more money on the numbers racket in a minute than they could have made on a great score on a bank. So there was a collision there between Dillinger and the type of criminals that didn't want to be really noticed as they were raking in the money. That affects the music as well - organized versus off-kilter...
...movies, Michael Mann has made interesting music choices - when to use it, and at what volume. Your worked together on Heat, which often buried the music in the background. What was it like working with him on this period piece...