Scoring ACTION: An Interview with BRIAN TYLER (Part 2 of 2)
Scoring ACTION Presents:
An Interview with BRIAN TYLER
By Barry Lee Dejasu
Part Two: NOW YOU SEE ME and the Future
BARRY LEE DEJASU: With a film that deals so much with magic, and the stage, and all eyes on the performer, how did you evoke that kind of mood for this movie?
BRIAN TYLER: NOW YOU SEE ME is a really interesting combination, tonally, as a film, and I don’t think it necessarily has been done like this as a film before, so musically it needed to go along with that tone. You’re combining two different genres; you’re combining the idea of magic and illusion, which the music at least will give you that kind of sense of… You might think of HARRY POTTER and LORD OF THE RINGS, and things like that, and CLOSE ENCOUNTERS (1977), where you have that, but on the other hand, you have this heist movie. These guys are pulling off a heist (and) rob a bank in Paris, and pull off all kinds of different, crazy things like that, which goes more toward things like CHARADE (1963), like cool ‘70s heist movies all the way up through retro-heist and retro-chase movies like CATCH ME IF YOU CAN (2002). These kinds of music don’t typically go together, so I kind of came up with this sound like a ‘60s James Bond/CHARADE/Henry Mancini kind of vibe, crossed with LORD OF THE RINGS and HARRY POTTER! (laughs) And that kind of thing is like, how does that work? It turned out to be this great combo, and it’s got elements of groove, and fun, and upright bass, and drums, and vibraphone, and kind of retro ‘60s stuff, with also a magical, shimmery element that was the London Philharmonic. These two unlikely kinds of pairs, kind of like the underground New York jazz club from 1962 meets the London Philharmonic, strange bedfellows. It ended up being one of my favorite musical experiences, and the fact that also feels like sleight music, like the music is beating you in one direction, like, look over here, or look closely here, but you’re looking in the wrong place, you know. It was like a giant puzzle, this whole score, and I can’t wait for people to check out this movie and hear the score.
BLD: There seems to be a lot comedic elements at work in the movie.
BT: Very much so. You have this team of four magicians that are thrown together. They’re definitely kind of a motley crew; they don’t necessarily like each other at the beginning of the movie—they’re thrown together for this mission, and it’s hilarious; they’re great together. It’s really funny, and it’s got a lot of twists, and it keeps you guessing. I’m just interested in magic from the point of view of illusion, myself. Each one of the characters, it’s like there’s a corollary in real life, like the Woody Harrelson character, he’s like this mentalist like Darren Brown, and you have Morgan Freeman, who’s like a debunker, like James Randy, who goes around and calls out people that claim to be psychic and are full of it. You got a guy that’s more like David Blaine that’s more like close-up magic, street magic, things like that, (and) a dude that’s more like (David) Copperfield; he does big illusions in Vegas. To put all these people together, you needed to have the fun.
There’s an action element to it, of course, as well; there’s a streak of THE BOURNE IDENTITY(2002), well, not in terms of it musically, but more like the film, where there’s something at stake here. It’s fun the whole way, and you’re constantly guessing, and the whole movie is actually kind of like watching a really cool magic show unto itself. The story is really the illusion, and the mystery you have to try to solve while you’re watching.
BLD: The fact is it’s still an audience watching a performance.
BT: Yeah—for sure. It’s almost like you’re pulled into it. It doesn’t rely on special effects, it’s more like the trickery of how does someone outwit the other person with what is obviously not real magic, but with illusion.
BLD: Can you speak of any projects you’re attached to, or circling?
BT: There are some directors that I work with that are working on some movies. There’s STANDING UP, from DJ Caruso, who directed EAGLE EYE; I’ve done a bunch of movies with him. There’s also a movie (also by Caruso) that I’m hopefully going to be doing very soon called INVERTIGO which is great, a really cool story. And John Liebesman, who I work with a lot, has NINJA TURTLES; we’ll be doing that together, and he’s great, he’s amazing. Steve Quail (FINAL DESTINATION 5, 2011) is directing a movie called BLACK SKY, and there’s some other things that may be coming up as well. I would love to work with Marvel again, and of course Shane is a fantastic director, so we’ll see what’s on the horizon here.
BLD: If you could re-score any pre-existing film (but preferably older ones, and the older, the better), which might you choose? (Previous answers have often included NOSFERATU and GODZILLA.)
BT: I don’t know if I could improve on it, but I’d love to take a whack at MANOS: HANDS OF FATE (1966). (laughs) I just would love to write some music for something that’s that strange. There was so much blank space in it, filming outside of car windows, driving alongside it endlessly… It would just be cool to go back and score something like that. I’m sure I could pick something that’s actually good, but I have a thing for films like MANOS: HANDS OF FATE.
BLD: There are tons of films always in the works. If you could choose and score anything in particular, which would you jump for? (Anything from a new documentary to, say, one of the new Star Wars films?)
BT: Also MANOS: HANDS OF FATE! Or (its sequel), TORGO RETURNS! (laughing) It’s a good question. Walking into something like STAR WARS would be amazing, of course, but John Williams is the impossible bar to reach. I would love to just see where the Marvel universe would go; that’s really interesting to me. And also something that I would love to do is just a historical drama of some sort, to just sort of mix it up, but it’s something that I personally love. The things I watch most of on Netflix are documentaries, that kind of thing, and my major in college was history. It would be great to dive into something historical.
© Copyright 2013 by Barry Lee Dejasu
IRON MAN 3 is now playing.
NOW YOU SEE ME comes out in theaters on May 31st.