Issue link: https://digital.copcomm.com/i/1061972
46 CINEMONTAGE / Q4 2018 making its musical signature very electronic. "James really liked the use of electronic music in the movie Gallipoli [1981], which used composer Jean-Michel Jarre's themes for a big action sequence," the music editor continues. "We experimented with blending some of the big synth composers of the late 1970s with modern electronic scores for the temp. Eventually, Rupert came up with different music, but the idea of using electronics came from the director experimenting with us." By contrast, Rabjohns adds, the backstory about the legend of ancient Atlantis is glued together with "very classical music, with orchestra and choir, that works very well. There, you are dealing with ancient times, and that is not a time to use electronics." Meanwhile, the main Aquaman theme is "super epic," according to George, strategically designed, like in many superhero films, to be distinguished from ordinary anthems. "Rupert wrote strong themes for all the main characters in this film, but in a classical way," he relates. "Some action movies in recent years have drifted more toward electronica and rock 'n' roll driving everything. I think Rupert pulled the main theme back to a nice classical piece: a big, full orchestra but with electronics underneath, which James really liked. It's a nice combination." Similarly, the musical theme that accompanies the key villain, known as Manta, is very techno-driven, according to Rabjohns. "We worked on that in the temps, but never got a complete theme for Manta until James came up with the idea of making him more industrial," he explains, delineating the musical themes in Aquaman: "The emotional material in the movie is very orchestral; modern Atlantis is electronic; and Manta is industrial." There was also a remix of Depeche Mode's song "It's No Good," done by Charlie Clouser, formerly of Nine Inch Nails, that accompanies a montage of Manta building his equipment. "It's very industrial-sounding to give a hard- edged, brutal side to the character," Rabjohns comments. The primary challenges in editing the film's music remained evident even as late as the final mix; Wan was constantly experimenting and changing things around, causing the music editors to slog through what George calls "a massive amount of material." Indeed, his editing partner says the process was almost like searching through myriad boxes of "musical Lego." "That volume of material is unusual," George concedes. "The movie is about two-and-a half- hours long, and we had 15 recording sessions, plus a couple of choir dates recorded in England. We were dealing with orchestrators, copyists, programmers… It all has to come together every session, and be in sync with the picture wherever you are at that particular time. On some cues, we did 25 versions of the demos in order to get to a place where James was happy with it. That was on a reel that had maybe 40 versions of that reel itself, after something like 20 temp versions. It's a demanding process." Aquaman. Warner Bros. Pictures & DC Comics CONTINUED ON PAGE 48 Paul Rabjohns.