Sam Ewing

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.

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.

and you live in that world and you're just like, you're trying and using like a ton of effort, I would say, to just like unearth these musical versions of these ideas and these themes and like get them to life. And then once they get going, it really sort of, there's a rhythm and the effort becomes less strenuous and you really find a stride.

and you live in that world and you're just like, you're trying and using like a ton of effort, I would say, to just like unearth these musical versions of these ideas and these themes and like get them to life. And then once they get going, it really sort of, there's a rhythm and the effort becomes less strenuous and you really find a stride.

and you live in that world and you're just like, you're trying and using like a ton of effort, I would say, to just like unearth these musical versions of these ideas and these themes and like get them to life. And then once they get going, it really sort of, there's a rhythm and the effort becomes less strenuous and you really find a stride.

And so, and my point is that in those early iterations, like the collaboration is so important because someone, you're entrenched, you just don't have the perspective. So early on, I was entrenched with Marcus Begala who was helping, we were both composing themes together and we were just doing, we were doing a lot of back and forth. He was the one who was like, dude, like,

And so, and my point is that in those early iterations, like the collaboration is so important because someone, you're entrenched, you just don't have the perspective. So early on, I was entrenched with Marcus Begala who was helping, we were both composing themes together and we were just doing, we were doing a lot of back and forth. He was the one who was like, dude, like,

And so, and my point is that in those early iterations, like the collaboration is so important because someone, you're entrenched, you just don't have the perspective. So early on, I was entrenched with Marcus Begala who was helping, we were both composing themes together and we were just doing, we were doing a lot of back and forth. He was the one who was like, dude, like,

I don't know, man, but I feel like this Catwoman thing you just wrote could be sick for the Joker. And I was like, whoa, OK, sweet. So that's where the seed was kind of planted. So yeah, those collaborations. They're so key.

I don't know, man, but I feel like this Catwoman thing you just wrote could be sick for the Joker. And I was like, whoa, OK, sweet. So that's where the seed was kind of planted. So yeah, those collaborations. They're so key.

I don't know, man, but I feel like this Catwoman thing you just wrote could be sick for the Joker. And I was like, whoa, OK, sweet. So that's where the seed was kind of planted. So yeah, those collaborations. They're so key.

That's a really good question. There are little Easter eggs for sure. I would say in Long Halloween... as we get to the holiday killer, just become familiar with these two little sort of off-kilter piano notes and the little bed that lives underneath it. I think it's gonna, as I had mentioned earlier, in the comics, sometimes you have these frames where there is no dialogue.

That's a really good question. There are little Easter eggs for sure. I would say in Long Halloween... as we get to the holiday killer, just become familiar with these two little sort of off-kilter piano notes and the little bed that lives underneath it. I think it's gonna, as I had mentioned earlier, in the comics, sometimes you have these frames where there is no dialogue.

That's a really good question. There are little Easter eggs for sure. I would say in Long Halloween... as we get to the holiday killer, just become familiar with these two little sort of off-kilter piano notes and the little bed that lives underneath it. I think it's gonna, as I had mentioned earlier, in the comics, sometimes you have these frames where there is no dialogue.

this is a thing that just, it becomes sort of a chameleon and it's a really fun thing to play with and sort of, you know, I wonder if this character is the killer. I wonder if that character is the killer. So we get to have a lot of fun with that.

this is a thing that just, it becomes sort of a chameleon and it's a really fun thing to play with and sort of, you know, I wonder if this character is the killer. I wonder if that character is the killer. So we get to have a lot of fun with that.

this is a thing that just, it becomes sort of a chameleon and it's a really fun thing to play with and sort of, you know, I wonder if this character is the killer. I wonder if that character is the killer. So we get to have a lot of fun with that.