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0:30

Film Fans, how are you? Edith Bowman here.

0:32

It is a real pleasure to have you

0:34

with us, thank you so much for joining

0:36

me. Loads of great stuff on the

0:39

go at the minute. I am recording this on

0:41

the evening of Sunday, the 7th

0:43

of January, as across the other

0:46

side of the world, many

0:48

a film star and amazing crafts

0:50

person is gearing up for the

0:52

Golden Globe Awards. So congratulations to

0:54

everybody, good luck to everybody, have

0:56

a great night and well

0:58

done on all your hard work. Some

1:01

of the films that are up for nominations

1:03

we are going to be celebrating over the

1:05

coming weeks. One of those is All of

1:07

Us Strangers, which stars Andrew

1:10

Scott, Paul Mezgal, Claire Foy

1:12

and Jamie Bell. And we

1:14

have the writer-director Andrew Haig

1:16

and the fabulous composer, friend

1:18

of the podcast, Emily

1:20

Lavines-Forouche, who are going to be joining

1:23

us. A roundabout the film's release date,

1:25

which is the 26th of January. Loads

1:29

of great stuff actually coming out. Let me

1:31

give you a quick rundown of some great

1:33

stuff that is hitting cinemas over the next

1:35

couple of weeks that you should definitely keep

1:37

your eyes out for. I hope you've been

1:39

along to see Priscilla, Sophia's film. Today

1:42

we're talking about Boys in the Boat, beautiful film

1:44

directed by George Clooney, which you'll hear more about

1:46

in just a second. Jodie

1:48

Comer is in a new film called The

1:50

End We Start From. She

1:53

is absolutely brilliant, brilliant

1:55

in this film. And

1:57

fingers crossed I'm going to be talking to her tomorrow.

2:00

so she'll be on next week's episode. Alexander

2:02

Pains, The Holdovers is coming out on the

2:04

19th as is

2:06

Jodie's film, the end we start

2:08

from. There's a great little British

2:10

film called Jackdaw that's been

2:13

written and directed by Jamie Childs. It's

2:15

first feature film and

2:17

he has come through some brilliant

2:19

TV work, whether that's Doctor Who,

2:22

his dark materials and

2:24

The Sandman. And this is his first feature film. It's

2:26

very much kind of close to home. He grew up

2:29

in the northeast of England and the film's set there

2:31

and a bit of character from that part of the world.

2:33

It's really great, really, really good. And

2:35

then All of Us Strangers is out on

2:37

the 26th as well. Oh and before that,

2:39

Jorgos' new film, Poor Things, starring

2:41

Emma Stone who I think is

2:43

going to win everything to be

2:45

honest at the Oscars, the BAFTAs,

2:48

the Golden Globes but we'll see. And

2:50

so January is very busy. We're spot for

2:52

choice with some great films. So I'd buy

2:54

yourself a membership from somewhere to be honest

2:56

so that you can get along and see

2:58

all of those films. 2024

3:01

is rolling on in fine style here

3:03

on the podcast as well because after

3:05

Sophia kicked it off, we

3:07

have director George Clooney and his leading

3:09

man, Callum Turner joining me to discuss

3:12

The Boys in the Boat. Now it's

3:14

based on a true story. The Boys

3:16

in the Boat is a classic sporting

3:18

underdog story with the narrative chart in

3:20

a row and crew from the University

3:22

of Washington on their journey to

3:25

the Berlin Olympics in 1936. It's

3:27

a real old school, beautiful film.

3:29

George is not trying to rewrite

3:31

anything when it comes to telling

3:33

these types of stories but the

3:35

way that he does it is

3:37

just really captivating,

3:40

really charismatic and really beautiful as

3:42

well. And it's scored

3:44

by previous guests on the

3:46

podcast, the genuinely fabulous Alexander

3:49

Desplat and we'll begin with

3:51

his title cue. Hello,

4:30

hey there.

4:37

Hi, you okay? Yeah,

4:42

we're good. Nice

4:45

to see you again. Nice

4:47

to see you again. Yeah, did you?

4:51

We all slept in a big tent together. We

4:54

all slept in a big tent together. We

4:59

do post shooting bonding. Boys

5:01

in the boat camping. Boys

5:03

in the tent. That's

5:06

a sequel, I like that. That's by Bear.

5:08

Cocaine Bear? Someone's

5:12

going to make that. Listen, I want to

5:14

talk about music if that's all right because... Yeah,

5:17

we love it. Working with Alexander Disbla again on

5:19

this film. Is this your fifth or sixth time?

5:22

I worked with him before I was directing

5:24

when we were producing for Sirian, I think

5:26

was the first time. Oh, wow. And he's

5:28

just an amazing composer. And then everything

5:31

we did with him, I've

5:33

done it every film except for the first two.

5:36

The first one, it wasn't

5:39

with him and then the second one,

5:41

we didn't have a composer, we didn't have

5:43

a score. After that, this has been Alexander

5:45

the Holy. He's just a... He's

5:48

a force of nature. He and his

5:50

wife, Solray, who

5:53

runs the orchestra along the way. And it's

5:55

fun to go into Abbey Road. In fact,

5:57

my first date with my wife... you'll

6:00

enjoy this. I met a

6:02

mall in Italy. She came

6:04

with a friend over to my house in Italy just

6:07

on her way through. And we were

6:09

talking and we got along really well. We just would

6:11

write each other. And then I

6:13

was coming to London to score a minor.

6:17

And she was doing

6:19

a she was in London in

6:22

a some meeting with the Muslim Brotherhood, some

6:24

fight with the Muslim Brotherhood, you know, and

6:27

I called and said, well, I'm in London, why don't you

6:29

come over to Abbey Road? I think

6:31

if you could ever impress anybody, it's at Abbey

6:33

Road with 150 piece orchestra. And

6:35

you know, that was our first date. Yeah,

6:39

some for say you're such a romantic as well.

6:41

It's like, oh, well, think about her taxi

6:44

ride over though. She's leaving the Muslim Brotherhood.

6:46

Take me to Abbey Road. Callum,

6:50

are you, are you privy to kind of the,

6:52

the sound of this film? Because one of the

6:54

things that Alexander's done with this film with the

6:57

music, this film is it, it kind of really

6:59

reiterates this beautiful kind of almost old school Hollywood

7:01

nature of this film and that it's, it's got

7:03

a really lovely kind of embrace

7:06

of that whole kind of era, I think

7:08

as well. And I wondered whether it was

7:10

something that George explained to you

7:12

or you know, or let you hear some

7:14

ideas of what he was thinking of sonically.

7:17

Not musically, but definitely be led into the

7:19

idea of the old school Hollywood, the

7:22

classic nature and the people like Gary

7:24

Cooper and Spencer Tracy and the whole

7:26

era itself. You know, I listened to

7:28

actually the thing that I do is

7:30

I, for me, it's all about energy,

7:33

but something that I did with the music, which

7:35

I like to do is I listened to Woody

7:37

Goughty every morning because Woody Goughty, I mean, with

7:39

that movie, I watched about him and, and

7:42

he sort of in a sense has a

7:44

similar job with the job. Maybe as an

7:46

older man, but it was a travel, right?

7:48

It was also in a mood. There's an

7:50

essence to Joe, you know, Joe, from

7:52

a young age was, I think at four years

7:54

old, he was made to go live with his

7:56

own on the other side of America, put on

7:58

a train on his own. pick up

8:01

on the station somewhere, then came back

8:03

and they had to move to this

8:05

mining town? I'll tell you the

8:07

interesting thing too, that he

8:09

probably doesn't know yet, but we

8:12

also, we write, and this

8:15

Alexander works, he writes themes for

8:17

characters. And so there's a theme,

8:19

there's a love theme for them

8:22

that plays when they're in

8:24

the boat, plays a little bit, and

8:26

then plays big time in the first

8:28

kiss, then it comes

8:30

blasting out, or frustration.

9:30

And of course, straight away, it opens

9:32

with music, the film. We

9:34

have this beautiful piano and strings

9:36

that with this, and it immediately

9:39

creates a rhythm, it creates a mood

9:41

as well, I think as well. It's

9:43

a lovely kind of... I don't normally do

9:45

opening credits sequences, I like to go right into

9:47

the movie and do the credits again. But this

9:49

one felt like we wanted to set the world

9:52

of rowing and make it elegant, so we shot

9:54

it out on the Thames late

9:56

at night and early in the morning, so we had

9:58

that beautiful shot. And then I went

10:00

to Alexander and said, we need something

10:03

to get us into the game, which

10:05

is, you can't start it emotional, because

10:07

it's not, but it can't just

10:09

be goofy light either. You

10:11

know, there has to be something sort

10:14

of melodic about it. And he's just,

10:17

he's in the maestro at it. But

11:19

I love as well, kind of the music for

11:21

the character Don, you know, of kind of what

11:23

the piano and being able to play the piano

11:25

does for that as a character. You know, it's

11:27

kind of like it's so lovely

11:30

that kind of almost comfort blanket for him

11:32

or this kind of a confidence that he gets from it

11:34

as well. So that was, that

11:36

whole, you know, we got fun moment

11:38

wasn't in the script. We just, I

11:40

started looking back at depression wise, where

11:42

they, what was the songs that were

11:45

really the people who lost everything crapping

11:48

all over the people who still had it.

11:50

And, you know, the rich get rich

11:52

and the poor get poor is such a great, it

11:55

was a real great chance. And so then

11:57

we wrote the scene for him. doing

12:00

it when you guys are mopping up, playing

12:02

the piano just a little bit, and he had to learn how to play

12:04

the piano. And then the

12:07

second time when it's the big party and he starts to

12:10

play it, kind of gave them the,

12:12

we're trying to build something, we always have

12:14

a problem with how do you

12:16

get him when he's rowing in the

12:18

last race? What's the thing that

12:20

jogs his head out of it? And

12:23

so we set it up to give ourselves

12:25

something to sort of trigger it. But that

12:28

middle section I think is my favorite part.

12:30

But when they pull him up on the

12:32

stage. No, no, no, no, no. Yeah. I

12:35

want to be the part that does that. He lost

12:37

the most, not the right because, as the phone writes,

12:39

he says he does get sick and

12:42

humans lost another way. And

12:44

that gentleman knows he's German. It

12:46

was remarkable. He's a good cat

12:48

too. These two were fighting all the time because they

12:50

were rowing against each other. So they've been best friends,

12:53

and then they were just sweet. Because

12:56

in a sense we were, because he's the stroke and

12:58

I'm sending a stroke down. Yeah, well, not the leaders

13:00

of the boat, but we're setting the tone. So

13:03

it felt like there was more pressure on both of us. And

13:05

that's what we really did because we were part of the team. And

13:08

that's what happens in sports teams. You're all trying

13:10

to be, you're pulling

13:12

the same direction, you're trying to achieve the same thing.

13:14

And you feel like no,

13:17

I'm probably feeling the wrong. You

13:19

know better, you're gonna go out of it.

13:21

Well, it was kind of the theme of

13:23

the movie, right? Which is the flaw is

13:26

when each of you thinks you know

13:28

better. And the secret to it was

13:30

when you stopped that. And

13:33

these guys had to experience that in real life,

13:35

which is each of them

13:37

were improving at different paces. And Jack

13:39

was one of the last to

13:41

get into the rhythm of it really

13:43

well. And he was playing the stroke.

13:45

He was supposed to be the best at it. It took him

13:47

a little bit longer to get into the

13:50

right rhythm. The guy right behind him, Bruce,

13:52

was like the killer. Everybody loved him. You

13:54

know, you're great. But go there, brother. You're

13:56

behind me. I think that's gonna be

13:58

the thing that surprises people, those. when you kind

14:00

of because you know I think that people would just

14:02

assume that oh yeah you kind of you know that

14:05

they didn't really roll they didn't you know it's like

14:07

no you you really you really

14:09

did and not just that but you know it was

14:11

lovely chatting to you about it last night at

14:13

the Q&A but that idea that it was kind of

14:15

life imitating art in a way in terms of

14:17

you guys had to work hard as a team so

14:19

kind of you know in real life you were doing

14:22

that I guess it really benefited in

14:24

terms of that camaraderie on the screen as

14:26

well. We were we were unit for

14:28

five months you know we really fell in love

14:30

with each other and like George says we were

14:32

moving at different paces and and we

14:34

had to just have allowances for each other

14:36

and we were all learning a new skill

14:38

and you know what we were able

14:41

to achieve was nothing sort of

14:43

remarkable. Honestly it really is I

14:45

have footage I could show you I have

14:48

footage of that first day we went out

14:50

to see them and literally at one point

14:52

I'm shooting on my phone like this and

14:54

they're like blah blah blah blah the the

14:56

the orcs are going back and forth like

14:58

a like a dying duck and then I

15:00

just panned over to Grant's face and Grant's

15:02

like this. He has a

15:04

little smile on his face. But yeah

15:06

we did and there

15:09

is something like when we're taking art and

15:11

you know I think I said

15:13

this last night I'm rereading the book and it's

15:15

resonating in such a deep and more profound way

15:17

what people have asked me to roll with them

15:19

I don't want to do that because it's not

15:21

going to be the same it's not going to

15:23

I've built a bond today other guys and

15:26

we had a target and we reached

15:29

it and it doesn't show like it's done

15:31

but I wouldn't want to do it with anyone else. It's a

15:33

funny thing what we do for a living if you think about

15:35

it. Yeah. We get to experience

15:38

it for short periods of time

15:40

whole world with nothing we

15:42

would have ever done or known

15:44

about and I feel that we're

15:46

very lucky in that way for we picked

15:48

a profession that's kind of fun. Also it

15:50

wouldn't be the same without George on speaker

15:52

alongside us you know. What's wrong with you

15:55

buggers? Did

15:58

you have a modern Megaphone

16:00

or did you have the almost

16:02

kind of like I had no I had the

16:04

battery power Yeah,

16:08

I want to make sure I was I wanted to make

16:10

sure it was humiliating to everyone Well,

16:14

the funny thing is these guys they trained and

16:16

trained and trained and they finally got great

16:18

and then we're shooting the last race and

16:21

the first take we do they're like Oh Literally

16:27

my head exploded because we have like

16:29

eight other boats race, you know And

16:35

I just go are you out of

16:37

your mind The

16:40

next race they were flying You

16:44

know, it was a really spiritual experience and

16:46

I remember after putting it together and doing

16:48

it for George The last

16:50

row batch and we wrote as

16:52

slow as possible and it was just a silent

16:54

moment and we're going together It's

17:00

really emotional when we were out then everybody got out

17:02

Because these guys actually really

17:05

did go through hell I

17:07

love this not put you off ruin the world like the fact

17:09

that you I'm never getting in a boat again column You're like

17:12

that. Yeah, no, I mean I do it again,

17:14

but I Would

17:16

want to do with the guys that you know and

17:18

actually again last thing I think Terry

17:20

O'Neal brought down his mates that he

17:22

made me was 14 to lay and

17:25

he gave the speech about how you didn't make

17:27

friends Forever and he cried and

17:29

I remember giving him a hug and then we also got in

17:31

the boat and rode terribly and they were like It

17:36

would be fun for you guys like after a couple

17:38

of years to get in a boat There's

17:47

something about sports movies, isn't there it kind of follows

17:49

I guess that thing of the underdog You know, you're

17:51

always a written for the underdog, you know You know,

17:53

I think back to even things like Gregory's girl when

17:55

I was growing up in Scotland, you know Great

17:58

kind of little football film Scotland,

18:00

but you know, stuff like cool

18:02

run-ins or documentaries like Senna and

18:04

Maradona and things like that. There's

18:06

just these... Sport just has this

18:08

kind of... You don't have to

18:10

be into the sport to love it and to fall in

18:12

love with these stories. Even

18:15

if you don't know anything about basketball, I'll

18:17

give you a suggestion. If you don't know

18:19

anything about basketball at all, there's an hour

18:21

and a half documentary, 30 for 30, which

18:23

is ESPN does these documentaries, they're called 30

18:25

for 30, and there's one called Survive in

18:27

Advance. You know nothing about

18:30

basketball. You watch this documentary, you're

18:32

laughing hysterically, you're sobbing,

18:35

it's this North

18:37

Carolina State basketball team

18:39

that have no business

18:42

playing against the greatest basketball players

18:44

ever. Michael Jordan is playing with

18:46

North Carolina and Clyde and Clyde

18:48

Drexler and Hakeemah Weiszwin are playing

18:50

with you. The greatest, some of

18:53

the greatest of all time

18:55

are playing in college and these guys who

18:57

have nobody you know have a terrible

19:00

season but they win their division

19:02

at the last minute and they get

19:05

into the NCAA and every single game

19:07

they're down by 15 with

19:09

two minutes left and they come and they

19:11

win the national championship and the coach is

19:13

from like New York and he talks like

19:15

this down in the south and they're all

19:17

like, this guy, he's so funny. He's like,

19:19

man, let's see you kids. And

19:21

it never happened again and it's one of

19:23

the most beautiful stories and you will

19:26

sob and you will laugh and

19:28

the guy gets cancer and all this stuff. It's

19:30

just so and again it's that

19:32

same, my wife who knows nothing

19:34

about basketball, watch it with me,

19:37

falling through the whole thing because it's

19:39

just such a sports films like that,

19:42

you know, they just raise

19:44

you up. Anything's possible. Have you

19:46

got, Karl have you got a one that spoons to

19:48

mind that's a favorite of yours? I mean yeah,

19:50

Cool Runners is one I love when I watch

19:52

this movie called

19:55

Lenny Cook. Lenny Cook's like the

19:57

greatest possible player that never made it. the

20:00

top high school grad in

20:02

the States and it's actually the second one. Oh

20:05

yeah. And it's fascinating. Oh, I've got this

20:07

God given talent but it doesn't have the

20:09

mental ability to do it. And I

20:11

think it's, I think it's, I think it's, you know,

20:14

Bro James is younger than him,

20:16

a year younger and they're like, he didn't go, oh,

20:18

I want to do it. It's fascinating. Unfortunately,

20:20

he doesn't make it, but it's just this journey

20:23

of this young man. What about

20:25

when it comes to soundtracks

20:27

and scores? Have you got moments

20:29

throughout your life as a

20:32

film fan that you've got scores

20:34

or soundtracks that have really

20:36

resonated with you? There's

20:39

one soundtrack that I think

20:42

I would put above almost anything I've ever

20:44

heard in my life. And it's, to

20:47

me, there's tons of beautiful soundtracks, obviously.

20:49

And you can listen to some of

20:51

the older films in particular, you know,

20:54

Mind Blowing. But when I, every single

20:56

moment, particularly end

20:58

of Cinema Paradiso absolutely

21:00

destroys me. You know, I'm

21:02

old, I fall asleep early, you know, now. It

21:05

was on the other night. It was like, I

21:08

turned the TV on at like midnight. I'd

21:10

been asleep for like an hour. I woke

21:12

up, I turned the TV on, Cinema Paradiso.

21:14

I watched it till three in the morning

21:16

and I've seen by myself with a remote,

21:18

my hand just bawling. Oh, it

21:20

just destroys me, you know. So that's

21:22

a score for me, that one. You

21:25

know, there's millions of them, obviously. You

22:30

You What

22:43

about you? You

22:45

go against like the Hollywood stars there's a

22:47

movie called Babylon which is a These

22:50

are making money to or something

22:52

and it's about the

22:55

reggae out in And then it's

22:57

problems at the time See

23:26

them I

24:00

He's an

24:03

amazing character.

24:06

I was lucky enough to do a, I did

24:08

a little documentary with him that he was in

24:10

and he talked about writing silly games. And

24:14

he can't not sing it when you're

24:16

talking about it and he can get

24:19

that note as well that Janice got.

24:21

It's amazing. Did you guys

24:23

see the Get Back documentary? It's so

24:25

amazing because you're watching like Paul

24:32

McCartney just sitting around and he's writing

24:35

like Get Back just sitting around with

24:37

the rest of the guys and all

24:39

dicking around with the guitar. And it's

24:41

like he's like Frankie was a man

24:43

and we're like, no, it's Jojo. It's

24:46

Jojo. You know, everybody's

24:49

like, where he was a guy

24:51

who thought, no. I had

24:55

dinner a couple of nights ago with Paul

24:58

and I was sitting there with him and there's

25:00

never been a, there will never

25:02

be a band that was old ground for that

25:04

short period of time that had that many amazing

25:07

songs who took us from the journey of ties

25:09

and short hair to changing

25:12

the world, you know, there'll never be a band like

25:14

that. And when your third

25:16

best writer is George Harrison, one

25:19

of the greatest, that's just, it

25:21

just, there'll never be anything like it. I was

25:23

sitting there with him and we're just having drinks

25:26

and he's like 80 I think. And

25:28

he's talking about like, yeah, you know,

25:30

we did that horn thing with Penny

25:32

Lane. I was like, yeah. And

25:34

he's like, yeah, you know, we decided we tried

25:36

this flugelhorn. And I'm just like, really? Like

25:39

hearing songs that are ingrained

25:42

in you. Yeah. Like in

25:44

your blood system. He

25:46

once came on my radio show and

25:48

there was, there just happened to be

25:50

a keyboard in the studio and he

25:52

just started playing Lady Madonna. I couldn't

25:54

breathe. It was just the most extraordinary

25:57

thing. It's just amazing. And you know,

26:00

particularly their songs, which are such

26:02

a part of our fabric, of

26:05

our lives, because their music

26:08

changed as music changed.

26:10

They were the leaders of changing the

26:12

style of music. And all of

26:14

the British invasion that came to the United States, they

26:17

all followed them. They were the first.

26:19

And so everything they did. So I

26:22

was there with them. He was at

26:25

Abbey Road playing Lady Madonna on the piano

26:27

that's there, that they used when they played

26:31

Lady Madonna. You're just like, Oh my God.

26:33

You know, he had now and then. Yeah.

26:38

And he said that he screwed up by saying AI.

26:40

AI wasn't what, what

26:43

do you say that they were using it to

26:45

take out the background

26:47

noises, not to redo Lennon's

26:49

voice. And that's how it got sort of

26:52

screwed up. But he said it to me,

26:54

you know, a year

26:56

ago and said, I've got this thing, you know,

26:58

do you have any place in the movie board?

27:00

I was like, Oh my God. And we have

27:03

anything to do with it anywhere. But I

27:05

got to hear it. And I wrote him then.

27:08

And I said, Jesus, Paul, it's a, it's

27:10

a Beatles song. It's a 50 year

27:13

old Beatles song. And he's like, yeah, we

27:15

rock. And I was like, yeah, you rock,

27:17

dude. I bawled my eyes out

27:19

at the little documentary that tells you the kind

27:21

of making of it. It's like a sort of

27:23

little 10 piece little film of kind of, you

27:25

know, them, why they wanted to do

27:27

it, how long it took them coming back and forward,

27:30

having this piece that George wrote before he died that

27:32

they were able to. And it's just, I was

27:34

trying to copy his style. And

27:37

it's just a loving, when you

27:40

listen to the song, the minute you

27:42

hear those sort of changes, you go, that's

27:45

the Beatles. Yeah. I mean, it's like the

27:47

Beatles in 68. Wow. Just

27:51

before we finish, I had the absolute

27:53

pleasure of having a really brilliant chat

27:55

with David Holmes a couple of weeks

27:57

ago. He's amazing. I'd

28:00

had Soderberg on the podcast as well. And

28:02

we talked a lot about the Oceans films.

28:04

And the great thing about Chant David was

28:06

to kind of give him real kind of

28:09

kudos for how important his music supervision, as

28:11

well as kind of score was to the

28:13

kind of real rhythm of those films. Yeah.

28:15

You know, in terms of that, the color

28:18

of them almost in a way, in terms

28:20

of the kind of the sort of attitude

28:22

of it. It's a completely different film

28:24

if you don't have David music. And

28:27

it really is. Because, you know, films

28:29

like that, you have to tell

28:31

people that it's okay to laugh. You

28:33

have to tell people, you have to commit a

28:35

crime that this is going to be fun, not,

28:38

well, this is going to be dangerous, you know? And

28:41

David's version of that music, because Stephen

28:43

tried other things before he met David

28:45

on the first one. And then he

28:47

came out and said, maybe

28:50

I think it's this vibe. And before

28:52

that, we'd done Out of Sight

28:54

together. And it was a very different

28:56

vibe. A lot of needle drop music,

28:58

you know, which was great. But then

29:00

this was pure proper score, but it

29:02

was with a funk to it, you

29:04

know, that just gave it a vibe.

29:06

What was that version? I don't know.

29:08

I just, I think David was doing

29:10

kind of a, it was a 70s vibe. I

29:13

mean, that's the only way that it had a- It was a

29:15

funk, wasn't it? Yeah. Okay.

30:16

Has

30:19

it been a brilliant journey for you as

30:21

a director, Georgia, producer and director of that

30:24

journey with music? Because I was

30:26

looking at all the different scores that, you

30:28

know, Alexander's worked on, but, you know, also

30:30

working with Randy Newman and things like that

30:32

and Hardy and Rupert Gregson, Crix Wilson on

30:34

Catch-22, you know, and every one of them

30:37

has got its own thing because sometimes, you

30:39

know, if you work with a composer over

30:41

a certain amount of time, you know, there's

30:43

a familiarity there, but everyone has it. It's

30:45

so unique and so different. And I

30:48

just was interested to find out that journey for

30:50

you if you've really enjoyed it in terms of kind

30:52

of, you know, how that's been for you. Yeah.

30:55

And I think, honestly, Alexander's a dear friend,

30:57

you know what I mean? He's really a

30:59

good pal of mine. We go to dinners

31:01

together and I really love the guy. There's

31:03

an element he has. There's

31:05

a feeling for storytelling, right? So

31:07

like I'll put a temp score in, like we had a

31:10

temp score for this and the last

31:12

race was really action packed music. And Bob,

31:14

and he's like, yeah, no. And

31:18

I was like, but you know, I mean,

31:20

you know, I mean, kind of like that.

31:22

You know, there's nothing that composer hates or

31:25

hates. Yeah, there's nothing they hate

31:27

more than a temp score. I mean,

31:29

they hate it. You're taking

31:31

chunks of other people's scores, you know, and slapping

31:33

it in. It doesn't fit. But you're trying to

31:35

give them an idea of what you're looking for.

31:38

So Alexander basically just turns it down and doesn't, wasn't

31:40

anything I send him. And then he goes, I got

31:43

my idea. Then I go over to

31:45

his house in LA. He has

31:47

a little house in LA and he has a

31:49

little keyboard and he'll just play out things and

31:52

then we'll go, okay, that's good. And maybe we can

31:54

use that here. And then he goes, yeah, but watch

31:56

this. And then he'll change it. And he'll

31:58

be like, now this is, and I'll go over. what's

32:00

that? That's the same song as that. That's just

32:02

different instruments. So he's that kind of an

32:05

artist and I've enjoyed

32:07

every experience I've had with all

32:09

of the composers but I've done

32:12

literally probably seven or eight jobs with

32:14

Alexander and every single one of them

32:16

has just been a joy. I

33:03

see Mark just brilliant. Love that. That's cool. You know

33:05

I went to him and I said I want like

33:07

a military you

33:09

know type sound to

33:12

it and he's like yeah

33:14

and I mean he starts it off and it's

33:16

got this energy to it. So

33:19

by the time I get into the

33:22

scene in the downstairs in the in

33:24

the kitchen with Ryan Garvin he

33:26

makes the scene and he

33:28

does. I've

34:34

been so lovely chatting to you about music today

34:37

and your wonderful film. Karl, I'm really excited to

34:39

see what you do next as well

34:41

because it's been great to kind of just, when

34:43

you see your name attached to something, kind of going, oh,

34:46

brilliant. And you're absolutely fantastic in

34:48

this. I'm really excited to see what's next.

34:51

And George, just, you know, I mean, if we look

34:53

at the list of things that you're either producing, directing

34:55

or starring in, it's exciting times

34:57

for us as film fans. So long

34:59

make it continue, sir. You know, we do

35:01

these things when our movies come out and

35:03

we do these junkets and we have all

35:05

these conversations and there is no one more

35:07

fun to talk to than you and you're

35:10

the best. So we really enjoy. Thank you.

35:12

That's so kind of you, Steve. Thank you so

35:14

much. Have a great day. Bye.

36:07

From the score to the boys in

36:09

the boat that's training by Alexander Displa,

36:11

rounding off this latest episode of soundtrack

36:13

in with George Blooney and Callum

36:15

Turner. A huge

36:17

thanks to George and Callum for taking the time

36:19

to talk to me. Boys in the boat is out

36:21

in cinemas in the UK this coming

36:24

Friday so get along and see it.

36:26

We've never had George on the podcast before

36:28

or Callum for that matter but we have

36:30

had well rather a lot of great writers,

36:33

directors, actors, producers and

36:35

composers who have joined

36:37

us over the years on the pod. So

36:39

please head to Edith bowman.com if you'd like

36:41

to catch up with all of our

36:43

previous episodes. There's a great search engine

36:46

there for you to just dive in,

36:48

search by title, search by name, search

36:50

by composer and dive into our 400 odd

36:54

episodes. Soundtracking in

36:56

the UK is our social media handle and

36:58

we also have a YouTube channel which we'd

37:00

very much appreciate you subscribing to, sharing it

37:02

as well to your friends and leaving us

37:05

comments and all that kind of thing. Now

37:08

next up, I always get slightly

37:10

nervous when I announce guests

37:12

before I've recorded them but I

37:15

am mere hours away, hopefully, she says,

37:17

from chatting to the fabulous Jodie Comer.

37:19

Music has centered around quite a lot

37:22

of Jodie's characters. I mean we had

37:24

David Holmes on the podcast recently talking

37:26

about Killen Eve and her play, Prima Fassé,

37:29

Self Esteem wrote the music specifically for that

37:31

and there's a great scene in her new

37:33

film as well, the end

37:35

we start from where there's a lovely

37:37

kind of campfire dancing. So

37:39

I'm looking forward to having a

37:42

conversation with Jodie just about

37:44

her craft and her brilliant talent and

37:46

sprinkling in a conversation with

37:48

music around that. Also, I want to hear

37:50

what she's into. Fingers crossed that chat

37:52

happens tomorrow morning and I'll share it with

37:55

you next week. Jodie Comer then, our next

37:57

guest on soundtracking, I very much look forward

37:59

to the play. The

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