Tanto exponer sobre 300 en clase, acaba haciendo recordar, el programa que ya se hizo sobre su banda sonora, así que aquí teneis una entrevista a Tylor Bates, su compositor.
Lo de siempre, si os veis apurados con el inglés, disponeis del traductor online de Goolge: http://www.google.es/language_tools?hl=es
What attracted you to working on 300?
Tyler Bates: Having a job. (Laughs) I'm teasing. I'd worked with Zack Snyder on Dawn Of The Dead and we had a great experience. Initially, he came to me a couple of months after we finished asking if I wanted to contribute to a presentation he was making about 300 to make this into a film. He was gonna take it around to studios to see if he could get support for it. And we got into it and I found it to be really incredible. It was something that was going to offer a tremendous amount of possibilities. That was by far the majority of the allure of doing it, let alone working with Zack which is always a great experience.
Did you use the graphic novel a lot as an inspiration? Or, did you utilize the screenplay? How did that work?
Tyler Bates: When I really got into it it was the script and the film's footage, but as we were putting together the initial presentation... Zack filmed the comic book itself, the actual pages. They did some some animation to the pages, kind of creating an animatic, and throughout that process I did music to that. Then we actually had Scott Glenn the actor come into my studio and he did a voice over, basically, outlining the story. It was really cool that by the time I got through that experience, I was so wrapped in 300 I was ready to go. It was a long time between then and principal photography. There was a lot of ground that we covered between that, in preparation for the film, so it was something that just grew and grew over time. By the time I got the chance to really dig into writing the score I was really ready to go with it.
Is it super important, in your opinion, that a film like 300 have a different score for all the main characters?
Tyler Bates: To be honest with you that's not really the direction I like to go with scoring so much. When somebody comes on the screen and you hear their theme all the time, it's just not my sensibility. The one thing I will say about the Spartans is that they were a collective group. Yes, Leonidas was the King, and he's their leader, but the Spartans were one singular unit. So, to break themes out for each individual would have been contradictory to the overall message of the film, in my opinion. What I wanted to do was create certain motifs that supported a mindset, or an emotion, or a circumstance that we're experiencing dramatically for the film.
What was the process like of creating the score for 300 like?
Tyler Bates: Basically, Zack called me, told me about it, and he and Kurt Johnstad, who was the co-author of the screenplay with him, they laid out the idea of the film to me, you know? Basically, Zack said, "We're gonna do this presentation it's looking like we're wanting to do this animatic that's 2-3 minutes long. We're gonna cover these beats." We looked at the comic book together and talked about it. I took the comic book home with their words in my head and just created something. Zack didn't play any music as a reference for me. He didn't say anything as a reference. He just said, "Yeah, just do what you do, you know?"
I thought of some of the traditional elements that we might have heard back in that time and in that region would be cool to emulate, but that led me to contemporize it in a way that the graphic novel is contemporized. I don't think that it's meant for a literal interpretation.
Tyler Bates: Having a job. (Laughs) I'm teasing. I'd worked with Zack Snyder on Dawn Of The Dead and we had a great experience. Initially, he came to me a couple of months after we finished asking if I wanted to contribute to a presentation he was making about 300 to make this into a film. He was gonna take it around to studios to see if he could get support for it. And we got into it and I found it to be really incredible. It was something that was going to offer a tremendous amount of possibilities. That was by far the majority of the allure of doing it, let alone working with Zack which is always a great experience.
Did you use the graphic novel a lot as an inspiration? Or, did you utilize the screenplay? How did that work?
Tyler Bates: When I really got into it it was the script and the film's footage, but as we were putting together the initial presentation... Zack filmed the comic book itself, the actual pages. They did some some animation to the pages, kind of creating an animatic, and throughout that process I did music to that. Then we actually had Scott Glenn the actor come into my studio and he did a voice over, basically, outlining the story. It was really cool that by the time I got through that experience, I was so wrapped in 300 I was ready to go. It was a long time between then and principal photography. There was a lot of ground that we covered between that, in preparation for the film, so it was something that just grew and grew over time. By the time I got the chance to really dig into writing the score I was really ready to go with it.
Is it super important, in your opinion, that a film like 300 have a different score for all the main characters?
Tyler Bates: To be honest with you that's not really the direction I like to go with scoring so much. When somebody comes on the screen and you hear their theme all the time, it's just not my sensibility. The one thing I will say about the Spartans is that they were a collective group. Yes, Leonidas was the King, and he's their leader, but the Spartans were one singular unit. So, to break themes out for each individual would have been contradictory to the overall message of the film, in my opinion. What I wanted to do was create certain motifs that supported a mindset, or an emotion, or a circumstance that we're experiencing dramatically for the film.
What was the process like of creating the score for 300 like?
Tyler Bates: Basically, Zack called me, told me about it, and he and Kurt Johnstad, who was the co-author of the screenplay with him, they laid out the idea of the film to me, you know? Basically, Zack said, "We're gonna do this presentation it's looking like we're wanting to do this animatic that's 2-3 minutes long. We're gonna cover these beats." We looked at the comic book together and talked about it. I took the comic book home with their words in my head and just created something. Zack didn't play any music as a reference for me. He didn't say anything as a reference. He just said, "Yeah, just do what you do, you know?"
I thought of some of the traditional elements that we might have heard back in that time and in that region would be cool to emulate, but that led me to contemporize it in a way that the graphic novel is contemporized. I don't think that it's meant for a literal interpretation.
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