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Interview

Cinezik : First, can you tell us how did you get involved on "JOHN RAMBO"?

Brian Tyler : Sly called me on the phone and said that he was looking for someone to pick up the mantle of where Jerry left off. Sly was listening to my other scores and thought that I would be a good fit. Little did he know what a huge fan of Jerry's music I was.

What were the intentions of Sylvester Stallone on the music? Is he fan of music (or film music)? How have you juggled with the famous theme Jerry Goldsmith?

Sly knows film music very well. And enjoys the process of how film music is composed. One of the first questions he asked me was if I thought we should use the original Rambo theme and without hesitation I said absolutely yes. Using the theme Jerry originally composed was essential for this character. It is so heroic and heartfelt, and above all solitary and loneliness. It was perfect for the character and still is. The main new theme I wrote was more of a sweeping emotional theme in the style of an adagio. It really was an ode to the Burmese people. Strangely enough, I have read many comments from listeners who think that theme was also originally composed by Jerry Goldsmith - a great compliment indeed!

What, in your opinion, makes a successful style of Jerry Goldsmith on FIRST BLOOD? And in your opinion, what should be the success of your music for JOHN RAMBO?

Jerry's music was uncompromisingly musical and powerful in its stoicism. I only hope to fit in with Jerry's fantastic music.

Do you remember an anecdote about your experience on this film or your work with Stallone?

Sure. I almost didn't make it to stage 1 since I thought my friend was pranking me when Sly first called me on the phone. I have a friend that often prank calls me with the voice of famous celebrities. I nearly hung up on the real Sly Stallone thinking it was my friend. Haha

You also paid tribute to the master in your score for "ALIEN VS PREDATOR: REQUIEM". Your musical quotations are subtle and intelligent. What do they mean to you? In particular ALIEN's score ? Or Goldsmith ?

Goldsmith's music for Alien was incredibly creepy yet incredibly beautiful. It is a lesson that I learned from him, to use beauty to illustrate darkness.

If one were to compare you to Jerry Goldsmith, it would be including the ability to invest strongly on each film whatever its quality or kind, and to create each time an unusual score, surprising and sometimes innovative. Do you agree that for you, cinema is a field of experimentation?

Absolutely. No matter what the film I am scoring, I take on the job with absolute vigor. I respect that Jerry never phoned in a single score. Each one stands on its own.

One of the most brilliant music that we heard recently in Hollywood is your music for William Friedkin's "BUG". Can you tell us about the creative process of this amazing music? What were the musical intentions of Friedkin for the film?

This film score was the most experimental I have ever composed. I wanted to experiment with sounds, instruments, minimalism, and dissonance. The use of air conditioning units, alarms, and cello was part of the musical tapestry of this score but it was not for any reason other than these instruments seemed to make sense. Short wave radio frequencies and dark barks combined with piano melodies. The music was highly contrasted in a way I have never done.

Like Goldsmith on some of its projects, you are committed to caring for particular rhythms and percussion instruments in your scores for Friedkin... Can you tell us more about that ?

Percussion was something that I was always strongly drawn to. One of my first scores that I bought was Jerry's Planet of the Apes. The percussion on that score inspired me to learn exotic instrumentation. I ended up studying percussion from around the world. African and Asian percussion became a particular love as well as being a drummer by trade. Writing for percussion is something that will always be a main part of what I do as a composer.

You are working again with Sylvester Stallone for "THE EXPENDABLES". Was there any discussion about the nature of this new music ? and what are the directions ? Which sens of Music Stallone has and on which stage did he influence the music ?

Yes we have talked about the music for The Expendables. We want it to be a "real" score, not a series of songs strung together. Thematic, bold, orchestral. It is going to be absolutely wild.

Actually you compose a lot for Action Movies, Series, without real great Director, is it a choice, a kind of movies you like to work on, or would you like to work with Directors as Friedkin with music highly sophisticated ?

I love scoring all different kinds of movies with all kinds of directors. I particularly liked working with F. Gary Gray on "Law Abiding Citizen" recently and "The Killing ROom" for Jonathan Liebesman, two directors who really wanted me to do something unique with the score.

In the mean future which great Directors would you like to work with ? Do you request any of these Directors by sending them some of your Demos ?

We will have to see! :) But generally directors find me by hearing my soundtracks on CD or in the films I score.

Could you be interested to work on a documentary or even a video game ? what kind of genre could catch your attention ? What is your favourite playground to compose?

Sure! I am working on a video game right now in fact! The name is TBA, but suffice to say, it is fantastic.

In "The Final destination" few parts of the music remember me your score for "Timeline", are there any temp tracks in there or unused material from Shirley Walker?

Timeline was not temped into the film no. As far as Shirley Walker, I just wanted to pay tribute to her. I loved her previous scores for the series.

"Law Abiding Citizen" is your first collaboration with Director F. Gary Gray, have you been free to compose or does Gary gave to you few directions to follow ?

He wanted a score that had a contemporary feel but with a nod to the past films that used noir motifs. One reference that we agreed was great from the perspective of motif usage was "Chinatown." Gary has a fantastic ear and we collaborated on really bringing together our visions and we are really proud of how the music turned out. Conducting the score was really incredible as well.

You have the ability to play several instruments, that helps you to have a general vision of the score you compose, which instrument can touch you the most or do you use the more often?

My main instrument for composing is the piano. The use of polyphony and the range of notes on a piano is unmatched so I find that it makes the most sense for composing.

Do you have any musical dreams ? (composing an Opera in 3 acts as Howard Shore did for "The Lords of the Ring" that you could consider as your Masterpiece or playing a concert under the sea ☺ or even playing a partition with only ethnics and unusual instruments...)

I have many dreams for composing music. Symphonies and operas are definitely in the cards for the future someday. I will keep you posted!

Interview by Xavier Ducamp and Benoit Basirico

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