Or certainly I would need time - which I would love to have but there almost never is on a film - to just spend a week with a roomful of guys laying down these patterns.
Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.
I'm looking for a feel and I have to find what that feel is before I can move on from there. I'm not necessarily catching stuff in such a simple way - I don't need to. So, I'm going for something else.
You're allowed to rip-off another score so close that it's ridiculous. In my opinion it's ridiculous, how closely one can just rip-off a score that happened a year or two earlier.
I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.
I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.
