Sam Ewing

So we need like dark, big orchestral instrumentation with some choir to support him. Bang, there's your theme, right? Next, Catwoman. She's in the shadows and spying and kind of tiptoeing and she's graceful and she's mischievous. And Um, so you have something lighter that lives up in, in terms of instrumentation is like, is just higher, right?

You've got like, you've got twinkling harp that, that's kind of, you know, prowling around on the rooftops. You've got, uh, you've got strings playing harmonics and they're like absolute highest register playing this sort of slow kind of, um, like crawling, um,

You've got like, you've got twinkling harp that, that's kind of, you know, prowling around on the rooftops. You've got, uh, you've got strings playing harmonics and they're like absolute highest register playing this sort of slow kind of, um, like crawling, um,

You've got like, you've got twinkling harp that, that's kind of, you know, prowling around on the rooftops. You've got, uh, you've got strings playing harmonics and they're like absolute highest register playing this sort of slow kind of, um, like crawling, um,

Melody, you know, and it's just like literally if you're like a child and like you're asked to describe like a cat, like you just take those descriptions and like apply them to music and to instrumentation and you've got your themes. And it's really like it's the shortest distance between the two possible that is usually the answer.

Melody, you know, and it's just like literally if you're like a child and like you're asked to describe like a cat, like you just take those descriptions and like apply them to music and to instrumentation and you've got your themes. And it's really like it's the shortest distance between the two possible that is usually the answer.

Melody, you know, and it's just like literally if you're like a child and like you're asked to describe like a cat, like you just take those descriptions and like apply them to music and to instrumentation and you've got your themes. And it's really like it's the shortest distance between the two possible that is usually the answer.

Yeah, absolutely. Absolutely. And the audiences pick up on that, even if they're not, they can't describe it. And it's music is often so not in the foreground. It's setting the stage is bringing the atmosphere for something.

Yeah, absolutely. Absolutely. And the audiences pick up on that, even if they're not, they can't describe it. And it's music is often so not in the foreground. It's setting the stage is bringing the atmosphere for something.

Yeah, absolutely. Absolutely. And the audiences pick up on that, even if they're not, they can't describe it. And it's music is often so not in the foreground. It's setting the stage is bringing the atmosphere for something.

Yeah, definitely. I had written a track for a theme for Catwoman and it was with... these sort of mischievous bells and these very unsettling little strings that kind of like sit as a bed. And somehow, someone on the team was like...

Yeah, definitely. I had written a track for a theme for Catwoman and it was with... these sort of mischievous bells and these very unsettling little strings that kind of like sit as a bed. And somehow, someone on the team was like...

Yeah, definitely. I had written a track for a theme for Catwoman and it was with... these sort of mischievous bells and these very unsettling little strings that kind of like sit as a bed. And somehow, someone on the team was like...

there's this like zone you enter when you're inspired by an idea that you get and you have a vague idea that, okay, yes, like this, this will be, this will be Catwoman's thing, but like, it enters your brain and you just gotta like get it out of you and like out of your fingers and like onto the keyboard.

there's this like zone you enter when you're inspired by an idea that you get and you have a vague idea that, okay, yes, like this, this will be, this will be Catwoman's thing, but like, it enters your brain and you just gotta like get it out of you and like out of your fingers and like onto the keyboard.

there's this like zone you enter when you're inspired by an idea that you get and you have a vague idea that, okay, yes, like this, this will be, this will be Catwoman's thing, but like, it enters your brain and you just gotta like get it out of you and like out of your fingers and like onto the keyboard.

And then like, and then you've built your track and you've composed your thing and it happens extremely quick because it's, you've just got this burst, right? So I knew like, this is cool. Like I really like this and I'm let this, this feels to me like Catwoman. And then it, it took the observation and discussion with like other people on the team to, to realize this,

And then like, and then you've built your track and you've composed your thing and it happens extremely quick because it's, you've just got this burst, right? So I knew like, this is cool. Like I really like this and I'm let this, this feels to me like Catwoman. And then it, it took the observation and discussion with like other people on the team to, to realize this,

And then like, and then you've built your track and you've composed your thing and it happens extremely quick because it's, you've just got this burst, right? So I knew like, this is cool. Like I really like this and I'm let this, this feels to me like Catwoman. And then it, it took the observation and discussion with like other people on the team to, to realize this,

would work so well for the Joker. But that's what's cool too about collaborating and working with other people who can help you see things with a little more distance and clarity.