Sam Ewing

Well, again, I'm a big cinema guy, right? So maybe to sort of give you a slightly left-of-field answer again, the moods set, and that's, I think, maybe the word that's important here is the mood and the atmosphere that I think Christopher Nolan did so well. It's one of the strongest takes on Batman in a linear, like, audio or visually form, right?

And one of the things that he's just done so well is just create this sense of motion and, like, driving forward and sort of gluing together scenes. And that was critical in the opening episodes because we've got these intertwined stories

And one of the things that he's just done so well is just create this sense of motion and, like, driving forward and sort of gluing together scenes. And that was critical in the opening episodes because we've got these intertwined stories

And one of the things that he's just done so well is just create this sense of motion and, like, driving forward and sort of gluing together scenes. And that was critical in the opening episodes because we've got these intertwined stories

intercutting I mean you might remember better than I but it's like every page or two yeah it's rapid and it's dense it's super dense and you're cutting between Jim Gordon and Bruce Wayne and this is before either of them are like you know heroes yet and like how do you how do you treat that's I mean the challenge there is immense from an audio perspective because we're just getting to learn these characters and

intercutting I mean you might remember better than I but it's like every page or two yeah it's rapid and it's dense it's super dense and you're cutting between Jim Gordon and Bruce Wayne and this is before either of them are like you know heroes yet and like how do you how do you treat that's I mean the challenge there is immense from an audio perspective because we're just getting to learn these characters and

intercutting I mean you might remember better than I but it's like every page or two yeah it's rapid and it's dense it's super dense and you're cutting between Jim Gordon and Bruce Wayne and this is before either of them are like you know heroes yet and like how do you how do you treat that's I mean the challenge there is immense from an audio perspective because we're just getting to learn these characters and

We're establishing the world of Gotham, but we've also musically, we want to present something that's cohesive and not just like annoying and like jittery, right? So there's something to be said about, you know, Christopher Nolan's approach, which is just like, well, don't make them separate stories with like, oh, we got Jim Gordon. Oh, we got Bruce Wayne. But just like...

We're establishing the world of Gotham, but we've also musically, we want to present something that's cohesive and not just like annoying and like jittery, right? So there's something to be said about, you know, Christopher Nolan's approach, which is just like, well, don't make them separate stories with like, oh, we got Jim Gordon. Oh, we got Bruce Wayne. But just like...

We're establishing the world of Gotham, but we've also musically, we want to present something that's cohesive and not just like annoying and like jittery, right? So there's something to be said about, you know, Christopher Nolan's approach, which is just like, well, don't make them separate stories with like, oh, we got Jim Gordon. Oh, we got Bruce Wayne. But just like...

this is the story of Batman year one. Yeah. Like it's coming together and just like go along the ride with us, you know? And, and like, and we will, we'll help transitions out, but we won't slam the listener over the face every time there's like a page turn, right? It's just, it's too much. So there's something to be said for that. And so, yeah, that anyway,

this is the story of Batman year one. Yeah. Like it's coming together and just like go along the ride with us, you know? And, and like, and we will, we'll help transitions out, but we won't slam the listener over the face every time there's like a page turn, right? It's just, it's too much. So there's something to be said for that. And so, yeah, that anyway,

this is the story of Batman year one. Yeah. Like it's coming together and just like go along the ride with us, you know? And, and like, and we will, we'll help transitions out, but we won't slam the listener over the face every time there's like a page turn, right? It's just, it's too much. So there's something to be said for that. And so, yeah, that anyway,

Right.

Right.

Right.

Well, the theme that I had written for Catwoman that later became the Joker is a prime example.

Well, the theme that I had written for Catwoman that later became the Joker is a prime example.

Well, the theme that I had written for Catwoman that later became the Joker is a prime example.

That's a perfect example of just this collaboration that is like, And I would say a necessary one where, as I was describing, a lot of times the composer is just simply too close to the material, especially early on. When a composer comes onto a project, you like entrench yourself.