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Posted: |
May 27, 2018 - 7:39 AM
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By: |
jsmiley108
(Member)
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Also from here:
http://www.underscores.fr/rencontres/interviews-vo/2015/11/interview-with-alan-silvestri/
Talking about ballsy, you did work with John McTiernan on Predator…
Predator was a very unique challenge, musically. During the scoring process, we have theses streamers that indicate when a cue begins and when a cue ends. When it begins, we have a green streamer, so we play the first piece of music. When it ends, there is a red streamer and you’re finished. In Predator, every time the green streamer came across and we played music, and then the red streamer came across and right with it was a green streamer! Every ending of a cue was the beginning of the next one. And of course, nobody says anything for a very long time in the movie! (laughs) So it became a very interesting kind of jungle ballet: there was lot of music, an incredible pile of possibility for a composer, but also by sheer quantity a daunting kind of task. Working with John McTiernan, we all knew that jungle sounds and things falling in the jungle only could get you so far, but in terms of keeping tension, moving narrative… We didn’t even see the Predator for all this time, we heard little sounds once in a while. Of course John Williams taught us everything we will ever need to know about having music remind us that there is something bad around, with Jaws. (laughs) So music had a big mission, a big challenge there. I remember McTiernan being very clear about where he wanted to feel the tension and keep it moving. From that point of view, it was kind of simple, although with many cups of coffee, to know what had to be done. You just had to be able to get it done.
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