Cue & A - Episode 5 - Bourbon, School & Studying every day.

In this episode Cris & Kevin chat about school and if it's necessary for a successful career in music. 


#howtomakeitinfilmmusic #howtomakeitingamemusic #howtosucceedasacomposer 
#whatdoidotobecomeacomposer #filmmusic #gamemusic #filmcomposer #gamecomposer #tvcomposer #filmcomposerexperience #gamecomposerexperience #ideasforgettingnoticed
#howtonavigatethefilmindustry #howtonavigatethegameindustry #musicindustry #filmindustry #gameindustry #helpandguidancebeingafilmcomposer #discussionsaboutcomposing #conversationsaboutcomposing #Heavyocity #reelcrafter #USCfilmschool #chapmanuniversity #berkleecollege #uscthornton #lacmofficial #ccmlaofficial #nyusteinhardt #schoolofaudioandmusic 

Transcript

SPEAKER_01 0:00

Everybody before you watch this episode of Q ⁇ A, please, please down below hit like and and subscribe and share and share alike. Enjoy. Hey everybody, episode five on Cinco de Mayo. Cinco de Mayo.

unknown 0:24

Oh.

SPEAKER_01 0:25

I'm just gonna go through that again.

SPEAKER_00 0:28

All right. There's rules and regulations.

SPEAKER_01 0:33

That's yummy. What are we? We were drinking uh Angels Envy today. Um I actually, this is not a bourbon podcast, but I actually just watched a YouTube video last night of the five overpriced bourbons. Um it's funny, Blanton was one of them. It is now, yeah, it never used to be. Like years ago, it was still in the range of $50, $60. Now it's a hundred. They have it at Bevmo, it's $110. $150 at the corner store here. But I forgot what distillery puts that out, but you can get comparable as Blanton's. You're not paying for that stupid jockey on top. Um, there was a couple, a couple other ones I I don't remember, but then it gave you the five overpriced and it gave you the five best for your price. Um, Angel's MB wasn't one of them, but I was looking for the ones that they had at Bevmo, and Knob Creek 12 is actually supposed to be. I never had knobgate 12, no Knob Creek 12. Um, but that's supposed to be really good. Um but anyway, I took screenshots of all the bourbons that they sell.

SPEAKER_00 1:45

Oh, nice. And I remember before we started the podcast, uh, we talked about um, or maybe it was just something I want to do, but I was I like to to uh dabble with cocktail creations at home.

SPEAKER_01 1:58

Oh yeah.

SPEAKER_00 1:59

I was like, oh, I'm gonna make something, and if it's really like we'll try it here, and if it's good, you know, put out the recipe. Yeah, it's actually a cool idea. Then it's like composing stuff and recipe about drinks. I have no issues talking about drinks. Um but I just want to figure I'm gonna clear the air before we start for real.

SPEAKER_01 2:23

Oh, we're not, but this is I mean this is for real. No, no, this is before we get live right.

SPEAKER_00 2:29

But so I clear the air. I didn't yeah, no, it's just because I'm I'm grouchy. Me too. But I'm grouchy because my ear hurts so bad. A lot of people talking about you. Um, so I yeah, that's I know it's ringing right now. Like, who's who's talking about me? You'd be surprised. And so I last week I was sick, like, and had strep throat. It was um, and so then but I had a reason. You better be all healed up because if I get sick, I went on antibiotics and they said 24 hours after you start that you're no longer contagious. Contagious. So anyways, I feel fine except for my ear. But then I had to fly to a recording session the other day, and I was still kind of like congested. Right. And everything was fine until the descent. And then I felt Descend into here or is it descent back here? There.

SPEAKER_01 3:27

Oh, geez, so you had it at the beginning of the trip.

SPEAKER_00 3:29

Yeah, so like when they're like, okay, get ready to land or whatever, it was fine, fine, fine. And then maybe five minutes before we landed, like well, both ears actually, like like the pressure, really bad pain. Um, just like ice picks in my eardrums, and then and then just instant clogged, and uh, you know, the you're not supposed to really do this, but it sometimes helps for you. Suction cup thing. Oh, I've been doing the suction cup thing. No, but you like picture those, you oh blow out or you suck in. You blow out. Oh, I just did it. That that helped a little bit. Oof. Um because you know, you what is what is clogging it? Is it mucus and no, I think. Well, I don't know, but I think it's um now my Eustacean tube is uh is swollen. Oh and that's what connects your sinus to your ear.

SPEAKER_01 4:23

Oh so when your sinus is refucked, it affects it.

SPEAKER_00 4:26

Yeah, so uh anyways, and that's what helps pressurize everything. And so now that this one is totally shut down, I'm like I can hear because I keep like snapping around my ear like can I hear anything? And uh, but it's just like it's telling you it feels like I I put like an ear pod or I or airpod in my ear, and it gets stuck and then and it I pushed it in like so far that it got stuck. Like that's what it feels like, like something's jammed in there, plus pain, plus uh ringing. No, thank you. Um yeah, I figured it out on the keyboard, so I'm hearing a C just like Oh, geez, it has a pitch.

SPEAKER_01 5:06

It's that low that it that's annoying. Because usually when you have tinnitus or tinnitus, whatever. Everybody says tinnitus. I think it is tinnitus. I always say tinnitus. I'm not changing now. It's so it's such a high pitch that you're missing that you you can't pinpoint a tone. I mean, obviously it has a tone.

SPEAKER_00 5:21

It is high, but I play it around on the keyboard. I'm like, it was closest to C, C seemed to match it.

SPEAKER_01 5:26

Do you have a tone generator on your phone?

SPEAKER_00 5:28

Probably.

SPEAKER_01 5:29

Oh, I don't know. Oh, I downloaded one, and you can actually cancel your hearing, your not your hearing, your tinnitus, tinnitus, when you hit that same pitch as your ear, it'll can't you won't hear it, you'll still have that loss of that range, but you won't be able to hear the tone. Weird.

SPEAKER_00 5:47

Anyway, um, yeah, and so then so I've been on like Pseudafed and Afrin and um just kind of whatever.

SPEAKER_01 5:57

And then I was really nothing to put in this way? No, no, no, like no throughout it.

SPEAKER_00 6:03

And so I went to the doctor yesterday and he looked in there, he's like, ooh, it's all red and swollen and um and looks infected. So I'm like, oh my god. Because yeah, coming back, actually on the ascent, it all went away. It was like, oh my god, this is amazing.

SPEAKER_01 6:18

Oh, because I could hear so well.

SPEAKER_00 6:20

Uh yeah, it like cleared it up. And then I had those uh, you know, the air or the plane air earplanes? Earplanes, yeah. They're they're like little uh noise cancelling? No, no, no. They're supposed to do something with pressure and the airplane, and you put them in before you take off and before you land, and it's supposed to help. I never heard of them. Yeah, so I bought some, I screwed them in like you're supposed to, didn't do anything. No. Um I was taking Sudafed on the plane just to make sure, didn't do anything, and and then but my ears opened up, felt great. The descent comes, same thing, and so it just it's you know, when you suddenly lose like something like you're hearing in one ear, it just freaks it out. All my spatial awareness and sounds, yeah, and then your balancing off. My I stand up and I'm just like whoa, whoa, whoa. Um, yeah, it absolutely sucks. It's I'm I'm going crazy. I don't know how you wrote today. I it was real that's why I put off writing for so long today because I would try it and I was just getting like so grumpy about it.

SPEAKER_01 7:27

And yeah, I don't like writing when I'm sick and my hearing is is compromised. It's it's annoying. But that that had something like that happened to a long time ago when we were landing back in LA. Tracy had a um a sinus infection or something with her sinuses, and as we were landing, it was so freaky. Her eyes looked like they were gonna shoot out of her head. The pressure was so much. I'm like, just keep your palms looking. I'm like, oh my god. I'm like, it was just so like her eyes were bulging, and I'm like, just keep your hands there until we land. It was so bizarre. Oh my god. Like, how can this be possible?

SPEAKER_00 8:09

That's crazy.

SPEAKER_01 8:13

Anyway, um so that sucks. And you're you're going, you're leaving again tomorrow, aren't you?

SPEAKER_00 8:20

Road trip, though. Oh, it's a road trip, okay. And I've noticed that um, because I was worried about driving, um, but it seems like it's fine. It's it's just the walking that like makes me kind of like busy. And um if you're just sitting there, it's okay. Probably be bad if you're a passenger. It's I've I get pretty car sick anyway, so it's always bad as a passenger.

SPEAKER_02 8:44

So do I.

SPEAKER_00 8:45

Um, so music topics. Um so I anyways, if I if I don't see myself today, it's because my ear is like you can only hear 50%. Absolutely at my wits' end with this thing. Okay.

SPEAKER_01 9:00

You're forgiven ahead of time. But I think you'll be okay. I'm a little, I mean, not to Well, I mean, that's what the podcast is for, airing out our problems. Um that's not what the podcast is about. Oh, it's not? Oh, I thought this was therapy.

SPEAKER_00 9:16

Um I charge $300 an hour for that.

SPEAKER_01 9:19

No, I'm fine. I'm just I'm just a little under it today. Um, so what we want to talk about today is we don't know. We've hit our limit. Podcast is over. Thanks everybody for tuning in. Uh four times and I'm at a loss.

SPEAKER_00 9:40

I don't know. Okay. You know, I wish we had somebody in here that we could bounce ideas off of. Uh, because you know, we were discussing what what should it be? It's like, do we talk about AI and music and do you use it as a tool or is it a threat? There's that, which I don't know if I'm super into that today.

SPEAKER_01 9:59

Yeah, no, because it's that's depressing as it is. My I mean, this is not along the same train of thought, but as far as getting a a a different audience, a friend of mine suggested every time we post an episode or go back and tag all the film schools, all the younger guys and ladies that are going for film scoring or video game scoring, you know, let them know about this podcast or just share it, and you know, maybe it'll help them. I think that might that might be a good idea.

SPEAKER_00 10:33

Well, it's funny too, because one of the other things we talked about is like um, is it still today worth it to go to school for music or should we do that?

SPEAKER_01 10:44

Right, that was a topic, yes.

SPEAKER_00 10:45

Like there's so many resources online. Like, do you need that kind of structure of a classroom? Um that's a good that's a good question. I wouldn't mind delving into that a little bit.

SPEAKER_01 10:57

Yeah, I I I mean, I'm one for not completing my schooling. Um, I'm not for it, but I I am one who did not complete their schooling. I did two years of dropped out music. It wasn't well, I guess, yeah, technically, I I have it was after high school, I was gonna I was gonna do community college. Um and then I because I really didn't know my musical direction, so I was gonna just let me talk. For someone who's fucking not feeling great, you're awfully uh I'm trying to light my own mood. Um yeah, I I was all scheduled to go to not scheduled, but I was planning on going to community college for you know the liberal arts and just I I didn't know I don't know why. I I just I didn't want to do music at college. And community college I didn't think offered what I you know, I just wanted to play guitar and be in a band. Yeah, you know, because I thought that was gonna be my path. And so I got rid of the idea of going to college and I played in bands and uh bands that were good, um, always hoping, you know, to get signed or you know, doing the A and R showcases and everything. And but then I think so as I wasn't doing the math in my head. So I think three years of that I got I got fed up with it.

SPEAKER_00 12:28

I just I just uh did you ever get to uh like open for any cool bands? Or any cool bands open for you?

SPEAKER_01 12:34

No, no, no, no. We were always either performing as we were the main, or it was the uh just a uh I don't even know what you call that. You know, when a bunch of bands play for the night, and it's just you know um well, we were doing that. Um and then I just I did my interest change in some styles of music, you know. I got into classes, I got into jazz, and that the band thing wasn't this is a long story into the whole college thing. Oh boy. Um uh but anyway, so I decided to I didn't realize this was reversible. I like the the black side better. Okay. Um that's when I I left the band, and but I in the band, while I was in the band, I was also doing my remember the FAA job I I had, I was doing that. So with the money from that job, I quit the band and I put myself through music school. I had to do night classes because I was still working. So um, so I did one year of um music theory, music composition, and and uh there was a third party, uh I forget what the third part was. Yeah, it was all the all the basics, you know, does it history counterpoint, everything. Um, I did that for a year and a half, and then I just I was running, I didn't have any money, and I I didn't know that for some reason at the time I could take out a loan. I had no idea. I didn't, I was like, I love my parents, but it just seemed like I don't know if they maybe I didn't, it's not then, maybe I didn't. I mean, I was at that time I was 18 or 19, so it's like I was an adult, I could have figured this out myself, but I didn't. So I stopped going to music school, I learned what I learned, and then um, well, I'm here now. I and I don't know if what if going full four years and getting a degree would change my jerk trajectory. I have no idea. No one knows that. You would have been a better composer, probably, yeah. Yeah, definitely. Um, there are a lot of things in my life that could have made me a better composer. Um, so anyway, so that that's my my my story of do you need college? At the time, I didn't think I'd needed it. I wanted to keep on going, but I was okay with stopping going and not getting a degree.

SPEAKER_00 14:59

Yeah.

SPEAKER_01 15:00

But in hindsight, of course, I wish I had a full education.

SPEAKER_00 15:04

But you learned, but you got something out of it. You you learned some fundamentals. Yes.

SPEAKER_01 15:10

Um and I it sort of like it got me on the right foot to know what to study, but then it was left up to me to get study the books, do the workbooks, and everything like the the I forget the books that I got, like the study of orchestration, uh instrumentation, and they always come with those workbooks. You know, so you have to do the stuff assignment yourself, and just you have to be honest with yourself and keep on pushing yourself. I did that for the longest time. Um, I studied jazz for the longest time. So it's you you're right. I mean technically you don't need school, but don't just not want to learn anything, you know. It's like you cannot go to school and it's like, oh, all these samples sound great, and you know, I can write for orchestra because these samples sound good, and then I could put out an orchestral piece or whatever kind of piece. Um, and I think there's a lot of young composers really young, like starting out, that rely on that type of stuff to get them some credibility, which is fine, but I think you need some sort of education or self-education to Yeah, that's the thing.

SPEAKER_00 16:24

Obviously, you need some kind of education. But no, I guess the question is, do you need do you think it's still worthwhile going to school for music as opposed to just learning on your own?

SPEAKER_01 16:38

Um yeah, I do. And the reason why I say that is because of my own experience of starting something and not finishing it. Like with school, you're paying and you have someone to keep you responsible.

SPEAKER_00 16:52

Having to pay for something keeps you definitely a little more honest.

SPEAKER_01 16:56

Yes, yes. Like, I mean, I I have so many courses here in PDF and videos and stuff. I start them, I'm all into it, and then I get busy with work and then I just forget about them. Yeah, you know, but if I'm busy with work and I'm paying a school and it's still here in my, you know, like it's all online, I'd be more inclined to get that assignment done and force myself to do it. But when it's on my own and learning on my own, I'll do a little bit, I'd be like, oh, that's awesome, I've got this, and not go back to it. Right. You know, and then that little bit of uh information sticks with you for about a month, like, oh, I can I know how to incorporate this into my work, and then poof, it's gone. Like it's not drilled into my head. So I think school is if it's if it's possible and if it's an opportunity, then yeah, I think school is definitely helpful in the in music and learning.

SPEAKER_00 17:56

Okay. You? What are your thoughts? Yeah, well, I went to school. Uh and I think composition, like teaching someone how to compose is kind of impossible. Yeah.

SPEAKER_01 18:14

So I'm teaching someone how someone else composed, that's different, which is done.

SPEAKER_00 18:19

But go ahead, but go ahead. Uh so I'm I'm very glad I went to school. And what I don't like is when people it seemed fashionable for a for a minute for people to say like, oh, I didn't go to school. That's just like that just like stifles your creativity and blah blah. And it's like, alright, that I just sound like you kind of sound like you're overcompensating a little bit because you don't know what you're talking about. Um but and you're talking about like playing guitar and bands and stuff, like that was my thing too, and uh I didn't know how to read music, and you know, it's like, well, I could read tablature, like that's fine. Like I just read tablature and now I know how to play Seasons in the Abyss by Slayer, so um, but yeah, then like and I was so stuck in that. Like, I don't want to do something hard because I can do it easy. Yeah, it's funny.

SPEAKER_01 19:22

I I I I knew how to read music before I even touched it, was playing like real shit with the guitar. Right. And then I resorted to tablature for the guitar.

SPEAKER_00 19:32

I mean, you know, reading music for guitar, especially like metal stuff, I don't know if it makes as much sense as tablature, honestly. I like tablature for some things.

SPEAKER_01 19:43

Tablatures, because yeah, there are with just notes. This is my experience of reading guitar, because I this is what I realized when I started playing classical guitar with real notes and not tablature, was as there's different, and if it didn't tell you the fingerings, there's different ways. I mean, same notes on three different strings on three different frets, you know. That's why so tablatures like it left no room for error, you know, which was nice.

SPEAKER_00 20:09

Yeah, I mean, then like that was my journey too, like going from metal to classical and then learning to read music. And I got to be a pretty good sight reader on classical guitar, and these days I wouldn't even try, I'd be so embarrassed. Yeah, uh, I just can't do it anymore. That skill has uh left the building.

SPEAKER_01 20:31

Yeah, that's one thing. I mean, I I can I mean, I don't want to get into missing playing the guitar. Um but that's one aspect of guitar I miss. Like I can deal with not playing electric and rock stuff, but playing classical guitar is just a whole different feeling. It's just so nice, you know. There's something about it. Yeah, and um anyway, I don't want to go down a what was me.

SPEAKER_00 20:59

Yeah, well, that was that was like 65% of wooing my wife playing classical guitar. Hi, Matty, I know you're gonna watch. I don't know how I wooed my wife. All right, this that's going way too off topic.

SPEAKER_01 21:15

When you brought it up, it was relevant.

SPEAKER_00 21:18

Well, which made me think was music a part of me wooing music. I know how you did it. You stood outside our window, you had a boom box in your hands like that.

SPEAKER_01 21:26

Yeah, that's how I did it.

SPEAKER_00 21:28

Yeah.

SPEAKER_01 21:29

Uh I don't remember. I think it was my dance moves, to be honest with you. Wow.

SPEAKER_00 21:37

Okay, so uh school, schooling. So, yeah, so I'm really glad I went to school. And I definitely learned a lot. Um, and I think like I don't want to repeat things that we talked about because I I did my whole um you know origin story that one time. Yeah, and I think I probably talked about trying or like finishing up a UCLA and then uh this is my problem with music schools though. Maybe they're different now, I don't know, but they teach you all these music fundamentals, and so like I knew how to do all my voice leading for choir, like a champ.

SPEAKER_01 22:16

Yeah, yeah.

SPEAKER_00 22:17

And you know, I could I could write a uh fugue or an invention, you know, on on a piano or or for whatever, and I like I knew all the rules and stuff, right? And I knew the ranges of all the instruments, and I could, you know, you learn all this stuff, and then you you come out of school and you're just brimming with musical knowledge and creativity, and you're like, like, oh man, I can't wait to get my career started, and then that's like record scratch sound. Yeah, because the one thing they didn't teach is how do you get it to make a living? Right, who's gonna pay you to write music?

SPEAKER_01 22:54

Like, right, and that's yeah, and and at least as important as knowing how to write music. Not more. Um, but yeah, all the knowledge also doesn't tell you how to create. You can feel creative, but it doesn't, you know, that I think that comes from a different avenue of your psyche. You know, you have your tools and then you have your ability to write using the tools or your ability to create. Um, because I don't think if you have all the musical knowledge in the world, that's not gonna make you a great writer, it's not gonna make you a good composer. Yeah, though. You you have to be able to have co a cohesive idea.

SPEAKER_00 23:38

I mean, I still spend um every day uh five out of seven days. I'm still trying to learn more stuff. Like, how do I, you know, yeah, and YouTube is huge for that. You just Google that. How do I be a better composer?

SPEAKER_01 23:56

And then start a podcast with anybody and waste two hours every night.

SPEAKER_00 24:02

Not every night, every two weeks. Uh but yeah, I still like I buy the um scores, the the John Williams signature edition scores and omni publishings uh omni publishing stuff. Um hashtag sponsor. Oh yeah. Have any of our sponsors come through yet? No. Uh you've still got the same old tired furniture.

SPEAKER_01 24:26

I get it. Oh, that's right. They're supposed to fund the two chairs.

SPEAKER_00 24:30

Um I have dreams about that. I lay in bed, I'm like, oh, that podcast is gonna be so nice with those two chairs. Oh my god, I can't wait. I kind of I'm kind of digging the couch now.

SPEAKER_01 24:39

Yeah, but it's it's not I feel like I can put my feet up on it. See, I want the two chairs and then I want a three-camera setup. I've been eyeing up three-camera setups, but there's it's either you're gonna get, yeah, whatever. I don't have 15, what is it, 15 grand to buy three Sony, uh whatever they're called. Anyway. Um but so creativity, I think creativity comes from a different section of your brain than. Yeah, but no, I was talking about like I'm still. Oh, right, right, learning, learning every day, yeah.

SPEAKER_00 25:12

And and YouTube is great for that. I mean, I I watch YouTube uh orchestration videos all the time.

SPEAKER_01 25:19

It's like, and this has to do with you know, ego and you know, just not coming to terms with my age. But everybody I watch and learn from is like 20 years younger than me, and they they're they're really good at what they do. Maybe not 20. Um, but they're either all younger, you know, young, yeah, younger people. I don't know what that has to do with it. It shouldn't have anything to do with it, because knowledge is knowledge who wherever it comes from. Um, but I don't know, it's just like I should know this already.

SPEAKER_00 25:50

Yeah, but I mean you probably do. It's I think they're just showing you maybe a different way to frame things or yeah, uh just a different perspective on what you already know how to do. And that's the constant reminders of do it like this is like you already know it, but you're like, oh, that's right. Yeah, do it like that.

SPEAKER_01 26:07

Yeah, it's something something you haven't used in a while, and it's tucked deep down, and some of the videos will you know bring that out again. And like, I mean, I am guilty for not being a very big woodwind writer in my pieces. Unless like action stuff could totally benefit from a lot of woodwinds. Well, I think like 20 years ago, um, remember 20 years ago wasn't that long ago.

SPEAKER_00 26:37

I know, but I think like 20, 20 years ago, I think uh I think Zimmer said uh that he did his like ten commandments of of music, and he said, Thou shalt not use woodwinds unless it's a duduk. Right? But I went through in games, I went through a a long ass period of people just saying no woodwinds. I'm like, well, we don't like them, we don't want and you're like, what do you mean you don't like them? They're not it's not just like piccolo trills, right? They help fill out the piece and yeah, and I I love I like when my pieces do have wins in them.

SPEAKER_01 27:18

I and I and I I like I pat myself on the back because I did it, you know, and it's yeah, good job. Because like the score I did, uh just the action score I recently did, uh, under fire, not a lick of Woodwinds that I know of. Yeah, I don't think so. Not an even you know, because sometimes runs are just pool to throw in there. Nope. Nope. All electronics, brass and strings. Um, and it and it's just not like the score is hurting because it doesn't have it, but I get trapped into you know not writing Woodwinds in a piece of action music. And it's really and that's just to me, that's just laziness on my part. Because you if you get it. Like in a lot of these pieces, you might not be able to hear it because there's so many electronics. Um and these pieces seem to be like for the action scores, modern day action scores, the pieces are seemed like way overproduced. Not overproduced, but very produced, you know, like they take up the entire you know, spectrum frequencies, and um there's really no room for woodwork.

SPEAKER_00 28:31

I don't like that kind of score.

SPEAKER_01 28:32

It's yeah, it's because they because in the end, I mean, I know you provide stems, and but they're not I don't think they're on the stage lowering brass, bringing up the strings. I mean, you you you need to provide them with a score that does the dynamic ins and outs of what's gonna be on screen. You can't rely, you can't write a a brick wall of a piece frequency-wise, and then expect them to write a volume or something.

SPEAKER_00 29:07

I mean, I think all the mixing is part of composition. Like all that is written in before it goes to the stage for sure.

SPEAKER_01 29:20

Yeah, you would like to think so. Not all the time. I mean, obviously, writing the picture is what makes you be able to do that. Dodge the or stay out of the way of the dialogue, stay out of the way of big action sequences and everything. But in my experience with certain composers, it's it hasn't been like that. It's like it's wall to wall, you know, everything is brick walled, and um, and then the whole piece just gets in uh um I was just watching last night the first um oh what was that movie, the spin-off of of Harry Potter, the uh Fantastic Beasts. Right.

SPEAKER_00 30:07

And man, that James Newton Howard score is so good, and there's like woodwinds all over the place, and it you know, but that's that's a fantasy score. So you're gonna have woodwinds in something like that.

SPEAKER_01 30:18

Um you'd be silly not to add them. Uh but that's that score is is phenomenal. Um but yeah, I don't know how we got onto the no woodwinds talk.

SPEAKER_00 30:32

That's just uh part for the course on QA. Um because we were supposed to be talking about like colleges and yeah, like do you do you go to school, do you do that? And it's obviously gonna be off on this stuff. I I wish we could stay on topic sometimes.

SPEAKER_01 30:47

Yeah, but I know, but it never does.

SPEAKER_00 30:50

No, because it's what we do and we're just hanging out, yeah. Yeah, and that's what I always wanted this to be. And right, and um maybe that's why we only have five subscribers. But I don't know. I I definitely get that trait from my mom too, where you like start talking about about like you know, cars and you wind up like talking about toasters or vegetables or something. It's just like the the thread of little like you go with the flow and then you get to the end, and you're like, and that's why I love apples. And you're like, and what were we talking about?

SPEAKER_01 31:27

Yeah, I don't think it's it's tough to stay on topic. Because you know, you you you get an idea from that idea, and you want to talk about that idea, and then that branches off to another idea. And I don't think it's bad. I just you just can't come to this podcast thinking you're gonna learn anything. Well, that's not it, that's not a good selling point.

SPEAKER_00 31:48

No, don't yeah, don't make it a lot of people.

SPEAKER_01 31:51

Don't make that the title of the episode. You're not gonna learn anything. You're not gonna learn anything here, and you might oop. Um yeah, I mean, I I think striving to learn something every day is a goal. I mean, not just I mean, you can say like practicing every day, but learning, you know, just learning something. Study a score every day, study a new chord structure.

SPEAKER_00 32:16

You know, and I don't when I'm like learning something new every day, I don't set out to like, oh, let me look up this. Like I'm really interested in whatever. I don't do that. I just find myself, you know, like during lunch or the morning with reading coffee reading coffee, drinking coffee, or um, or you know, drinking a book. Drinking a book. But no, but I'll just be like taking uh breaks or whatever, and it's like, well, you know, you go online now and you're just like doom scrolling, and yeah, and but instead of doing that, sometimes I'll just go through YouTube and because of my own unique algorithm on there. It's only for you. Uh it's only for me, and but it's a lot of music stuff, and so I'll just kind of be scrolling, scrolling, scrolling. And then said your whole feed is police cams of fistfights. No, no, it's music and and uh and the the slap contest.

SPEAKER_01 33:17

Uh but it but no, something I'll just spot something, I'll be like, oh, that's right, and you watch one of that, then you'll have a bunch of other similar stuff popping up in your feed.

SPEAKER_00 33:27

Yeah, totally. And which is great. Uh and and yeah, and then you just kind of go down a rabbit hole of of that, and uh, but there's definitely stuff, you know, it's not all gold out there.

SPEAKER_01 33:38

No, there's a lot of games.

SPEAKER_00 33:39

But I do pick up little nuggets here and there, and and I feel like, oh yeah, I kind of learned something today, and I try to incorporate that. Whoa. Sorry, did it get bright? Sorry, the the flickering was bothering me.

SPEAKER_01 33:50

Oh yeah. Um yeah, my my it's not all tutorials or things out there are are good or or even worth anything. My buddy sent me this um quick YouTube short of of how to not make your reverb sound so muddy. So I thought it was gonna be a technique of affecting the reverb, like messing with the reverb. You know how they have you can at like most e most reverbs now have, you know, you can shave off the low end, you can raise the high end, so like there's no low-end reverberating, it's just the mid to high. So anyway, so this might actually be hell ahead.

SPEAKER_00 34:34

This might help you then. I'm listening.

SPEAKER_01 34:38

He goes, I don't remember exactly how somebody goes, all you have to do is this. And he goes back to the original sound going to the reverb and just EQs the hell out of it. I'm like, okay, that's not a reverb tutorial, that's an EQ t.

SPEAKER_00 34:54

It's like Dude, it's the old bait and switch. It's just like it's like this podcast. Tune in to learn something. And then learn nothing. It's like, nope, not here, mister.

SPEAKER_01 35:06

Yeah, it was just like, and I I told my buddy, I'm like, that's that's not a tip. That's that's I'm like, I already know if you want to like uh it was just a waste of my two minutes that I'll know.

SPEAKER_00 35:21

I'm glad you could talk about it here for three minutes.

SPEAKER_01 35:24

The clock is not there to time my conversations.

SPEAKER_00 35:29

Whoops, sorry, that was probably so yeah that and uh I and like I mentioned, I've got like the scores and stuff of of you know the John Williams or the Omni. Um and and I don't sit there, I used to do this like in school. I would I would go to the music library, I would like get out like a Shostakovich uh symphony, and I would sit there, I would put headphones on, and I would listen to and I would read the score through the whole thing.

SPEAKER_02 36:00

Yeah.

SPEAKER_00 36:01

Um and I thought that was super fun and interesting, and and I don't I don't do that anymore. It's now I'm like very specific, all um like when I was working on like the Harry Potter game or the that Vader Immortal game, like I like okay, this has to be like I have to do my best impersonation of that style. And you know, I've got those scores, and so but I would I would listen to it's like okay, this Harry Potter score has like this track and this track, and I would just listen to those, and if I found something that's that sounded like really neat, right? Whether it was a woodwind run or a combination of instruments, or there's like a trumpet thing, he's like thing, but it's like trumpets and thirds, like just going chromatically, and but it but like that trumpet thing, I'm like, that's so cool! Like, how do you do that? And then I would find it in the score, and I would be listening and be like, Eureka.

unknown 36:57

Right.

SPEAKER_00 36:58

Yeah, and then like, okay, how do I invoke that without ripping it off? But but still, but but it's like, oh yeah, that's just like yeah, like chromatic trumpet lines and thirds, yeah uh with each other. That's a big Williams thing, and yeah, but you do that and like it just gives that flare. Yeah, it's like, oh my god, that's John Williams. That's amazing.

SPEAKER_01 37:19

I what I started doing, I mean, not recently, but with you know, when studying scores, is I I'll read the whole score through with the with the piece of music. Like I was doing this with How to Train Your Dragon, um, and once I listen to it all the way through and follow, I'll it it's actually uh, I mean, this is gonna probably be longer than I need it to be. But um, I'll take and I noticed this with with the I don't know if it was not the theme, it's the writers of Burke, uh it's the something with maybe it was the opening, but I'll bring in the audio file into cube's and I'll change the or I'll make sure the measures match up with the measures in the score so I can quickly go back. But I notice in that piece the tempo changes like crazy during the whole thing, and some some measures in the score are not in the recorded version, so I have to like edit it and everything. So anyway, so I get that all set up and I will analyze maybe like four bars at a time where there's like you know, main like melody stuff going on to see what's going on top to bottom chord-wise, and you know how much he's adding, you know, other, you know, ninths, elevenths or whatever within that, you know, each bar and each chord change. So I'll analyze it like that because that I think that helps me more understanding what's going on. Uh, or not not what's going on, but helps me more when I go to do my own stuff. Like it give it it fills up the the toolbox, yeah, so to speak. Um, and I'll do that for a couple couple sections, and I'll even do that when it's not even a core uh a chord progression or melody, just to understand how he's getting it to sound so fucking cool, yeah. You know, so but that that took me forever to get the QA session set up for it so I can just easily type in the the bars and just go back to it.

SPEAKER_00 39:26

That's that's cool. See, if I had an assistant, I would definitely have them do them on the hat.

SPEAKER_01 39:31

Yeah, that sounds like that was fun, but I was like, it it it served its purpose, but I'm like, I don't know if I could do this again for another piece. Usually I'll just like that was the first time I did it in cubase, other times I'll just keep on you know finding the spot in iTunes or iTunes, Apple music and matching it up and listening, and then just I don't even need the audio playback. I'm just looking at the score and uh and you know reading what's going on. But the cue bass having the audio right there was easy just to go quick. I can even loop it, loop this section and listen.

SPEAKER_00 40:06

Yeah, nice. That's a great idea.

SPEAKER_01 40:08

Yeah, that was a one-off. Like it was a lot, a lot, a lot to get it set up properly.

SPEAKER_00 40:13

It's um it's crazy to me when I like what you're talking about, like where the score is changing tempo all the time, because that is that can be so hard to record. Yeah. Um and I unless well, of course, it's only if I'm scoring the picture, but um I try as hard as I can to not ever change tempo. Yeah. Um, I will do some crazy uh meter changes to make things fit, but I'm like, I will tempo change for me is like a last resort.

SPEAKER_01 40:50

Yeah. I mean it's it's when you're scoring a picture and it's definitely changing and you need a feel change, then yeah, I I get tempo change. But if it's gonna be a concise piece covering, you know, a scene or even just a main theme or a suite or anything, yeah, there'd be silly not silly, but you know less difficult to change tempo. And I forget, I I I w want to remember what piece this was. And it might even Was I talking to you about this? About the the score that was recorded in the this one piece that was recorded in London that's uh oh it was Hook. I think it was Hook. Oh yeah, yeah. I was recorded in London down at 4, not at 440. It was flat in relation to the rest of the soundtrack.

SPEAKER_00 41:45

Oh, I thought it was the like bitrate or something was different, and they didn't convert it, and so it sounded slower or faster or no.

SPEAKER_01 41:56

Yeah, it had to do something like that. Because it wasn't the two. But it was it was actually it was but it was like a half a step. Or no, maybe it wasn't a half a step. I don't know, because I was trying to figure it out on the keys. Was it hook? Yeah, I think you said it was hook. It was like the that was weird, yeah. That was weird how I realized that, and I'm like, how did I never and they never fixed it. They fixed it on the re-released deluxe version, I think. Oh, okay. But I need another pour.

SPEAKER_00 42:23

Alright, me too, and I need more ice.

SPEAKER_01 42:26

I got another cube.

SPEAKER_00 42:27

Oh, uh, shall I continue the tales of shark you saw? It's fine. Alright. Well, I've now I've no idea what to talk about. Um may have to edit this part out.

SPEAKER_02 42:45

Alright.

SPEAKER_00 42:47

Um, so what I would going back again uh to kind of rehash what you're talking about in terms of like going to school or not, thank you. Um I would and I mean I I haven't been in school for a long time, so again, maybe they do this, but uh if you could if the professors could give some some more like real life experience kind of stuff, like like here's what you're gonna want to do. Like find a you know, that you've got all these avenues, like you could find a composer to become their assistant. You could, if you wanted to get into games, you could do like look for indie stuff, look for for mods. I don't even know if people do mods anymore, if they're just like indie games now. I think they do. Um, or you know, I mean film seems like kind of a no brainer, like oh yeah, you look at you probably did student films in school, and then you try to you know find your your filmmaker that you click with and stick with them.

SPEAKER_01 43:54

Um that's always the goal. I mean, it's funny, like that that. The school is a great place to get those relationships.

SPEAKER_00 44:03

I mean, just look at Ludwig.

SPEAKER_01 44:05

Right.

SPEAKER_00 44:05

That's like they just I know that was like the universe just aligned for those aligns perfectly and they're both amazing at their craft.

SPEAKER_01 44:18

So I mean it's not just the opportunity that they met, but it's just the fact that they both are top notch.

SPEAKER_00 44:24

I know. It's so crazy to um you just look at sp back at somebody's upbringing and and like everything that led them to this point, and then it's like and they were ready to take on that kind of challenge. And um and like I didn't have that kind of upbringing. And I I remember when I was pitching for things, um there was no self-sabotage involved, but I almost hoped that I wouldn't that whoops, that I wouldn't get a gig sometimes because I felt in my bones I'm not ready for this. And I'm gonna really fuck this up.

SPEAKER_01 45:06

Oh, you think you put that signal out there and I was just uh maybe.

SPEAKER_00 45:11

Um and oh my god, I when I was at when I was at UCLA, I had a um this little studio apartment that was like half the size of your studio here, if that. Uh and I had my dad's old desk that he he was uh an accountant, so it's like this big old banker's desk. This thing weighed like literally a ton. It was enormous. And you know, my my computer there, my keyboard and everything, and and I saw on like in a newspaper um or online on Craigslist or something, like Composer wanted, and and this guy's like, oh, let's let's have a meeting. And I should have said, you know, oh let's go out for coffee or something, but I was so broke, and I'm like, what if I have to pay for coffee for two people? Like, I don't I don't have that kind of money. Yeah, I was do broke by. Well, I understand the whole broke thing, but what did you do? But so I was like, why don't you come over to my studio and we can discuss? Right. And so he comes over and it's my my studio apartment, and all it is is a desk and a bed, and we like sat on the edge of my bed and discussed the movie, and I could tell, you know, and I'm I was playing him some stuff that I had written, and oh, it was so bad. But I could just I could see on his face, like why am I here? How do I get out of here as fast as possible? And you know, but in my head, I'm like, I'm like, oh man, because he was showing me something, and to be honest, the movie looked terrible, right?

SPEAKER_01 46:44

I mean, but like what what was his, like, what did he edit bay look like? I mean, like, I know he could have been in the same situation as you.

SPEAKER_00 46:50

Yeah, he probably had like a one-bedroom or something fancy. Um I did not get the call back, and it's a good thing because I would have never been able to handle it. Hell no. Why not? Well, because I was just, dude, I didn't know what I was doing. I was very, very slow back then, too, because I was I was still in school.

SPEAKER_01 47:09

Oh, okay. Right.

SPEAKER_00 47:11

Um But even after that, once I graduated, I just um there's definitely some unconscious self-sabotaging. Yeah, no, I I definitely um and then when I even like now when I get a a gig, I actually, if it's a game, I feel like I've already done this 150 times or something. Like I feel pretty confident like about it. Like I'm not I'm not worried at all. I'm like, I'm gonna I'm gonna totally knock this out apart, it's gonna be awesome. But if I were to get um Go ahead, like a you know, if like a like a studio freaking film came in, you know, something that's like high stakes, if it just happened that like somebody that I knew and somebody they knew and blah blah blah, and like I get I get handed this like golden ticket, like hey, you're doing the next whatever. Right, you're doing Jurassic Park 25, um which would be awesome, yeah. But uh I would then feel like that same spot you were in back then. I don't know if I'm ready for this. Um yeah, I mean you gotta fake it, you know, of course, yeah. But in my in my head, I would even though it's not really different, and I do find writing to picture easier than writing for games, like not to picture.

SPEAKER_01 48:36

Right.

SPEAKER_00 48:36

But I'm just so used to that and the stakes of writing for games that and where it's usually like pretty hands-off from the development team where I like if in another situation I feel like there's gonna be the like pressure, like I am in I am in the deep sea. This is my ocean with all the bioluminescent creatures, that's the kind of pressure that's pushing down on me.

SPEAKER_01 48:59

This is why you need to have I mean you might, I I don't know, but you need to have guys you can call on. You know, because I know if I get a gig that is way beyond my bandwidth, I know the you know, a handful of guys that I can definitely call on. You're not gonna call me, are you? You know what? I would have no problem calling on you. The fact the the question would be is would you want to take on a on a gig as an additional guy?

SPEAKER_00 49:32

With a team. I don't have that kind of ego anymore. I mean, I when it's not check this guy.

unknown 49:42

Okay, so don't like that.

SPEAKER_00 49:44

No, I actually do uh that have that kind of ego. It's uh which is a deficit. But um, if someone else came to me and like, do you want to be a part of this team? That's way different than me feeling like I need help, I need to bring people in to help me. It just feels different.

SPEAKER_01 50:04

Okay, so uh when I need you, I'll just be like, hey, I have this film. Do you want to be part of my team? And you'd be like, Yes. But if I come to you and say, dude, I need help.

SPEAKER_00 50:13

No, that's no, that's no, no, that's not what I meant at all. I meant if I needed help, it feels like I hate the fact that then it's like music by Chris Velasco and all these people. I know, but still that that's it would be in the postcredits. I know, but that's still how I feel. Like I I told you before, like when I would have on the rare occasions I've had an assistant have to do some cues for me. I always feel at the end, I'm like, oh, I wish I regret that it wasn't 100% made.

SPEAKER_01 50:44

Yeah. No, I I And that's all ego. I get that. Yeah, it is. I mean, nowadays it's I think specifically nowadays, it's totally different and totally understand.

SPEAKER_00 50:54

It's not for games, though. There's still like a stigma there. Really? Unless you're a few key guys that don't really do games anymore, but you're like high up and you get hired to do a game, and they know that you've got a team, that seems to be like okay, but but I've had conversations recently where they asked me kind of tentatively, they're like, So do you have a team you're gonna work with on this? And and I could tell that they weren't asking, like, so you got a team to work with, right? Like, like, oh god, I hope so, because this is a lot of music. Right. It was more like we don't really want to give you a team to be able to do this, and you know, I could tell them like no, like, no, no, no, if you hire me, you're you get me.

SPEAKER_01 51:42

Right.

SPEAKER_00 51:43

Um But yeah, I don't know. Yeah, games seem still kind of like they want you to be the sole composer. That's just my experience.

SPEAKER_01 51:54

Yeah.

SPEAKER_00 51:55

Um, but it's funny though, because I still like projects that expect you to be the sole person in charge of a hundred percent of the music. Um, there's literally not one other single role within a whole film, show, or game that's done by one person. It's always a team, but it's like music.

SPEAKER_01 52:17

Yeah, it's amazing that it's always been looked at like that. And and and and for the for a long time it hasn't been like that. I think just recently, and I say recently, it's like 10-15 years, is that you're really finding out that there are teams on film, maybe even more than 15 years, uh, where you're where they're getting credit, and it's not just you know, Hans Zimmer doing the full score or um Yeah, I've seen the credits change too.

SPEAKER_00 52:48

Like it used to be additional programming by or something, and yeah, yeah, yeah. And you see that, you go like, what the hell is that? Now I see it on the page. Now it's additional music. Oh, that was a composer. Yeah.

SPEAKER_01 52:57

Um I remember I I did some something for Chicano on Speed Racer, and I wrote a cue and I got synth programming on it just to get a credit, which I'm grateful for. You know, it was early on in my career. Um, but that yeah, that's how they used to give you credit, just assigning something of the production, the music production to you. And they spelled my last name wrong. Uh but whatever. Um yeah, but I mean, I don't know how I remember Gekino used to use used to do everything himself. I have no idea how he works now. Um but some guys, you know. I actually don't know any of the big top guys that don't have people working for them. It's impossible. There's no way they can get that amount of work done with the amount of films they do with you.

SPEAKER_00 53:52

John that JW. JW? I don't think so. Unless it was something like Chamber of Secrets, where I know that he had um William Ross. Yeah, yeah, yeah. Yeah. Come in. And William Ross really has his style down. Yes.

SPEAKER_01 54:09

Um I think Williams has relied on his orchestrator for a long time. I mean, I'm not saying John Wins. Listen, he's he's my boy. He's why I got into music. Or, yeah, into music. Um, but he is a great fucking. I know, but he does rely on his orchestrators. I'm gonna fight you right now. I'm not saying he his orchestrators do all the work. Like there, he does his sketches and he does phenomenal sketches that could probably be not touched, and they'd sound great. But I'm saying he relies on the orchestrators a lot. I think even more so now that he is older. Which is sad. And I'm gonna, it's gonna one day we're gonna wake up and no, just stop.

SPEAKER_00 55:03

Just stop. I don't want to hear that. I am very much looking forward to disclosure day.

SPEAKER_01 55:09

Yeah, when does that come out?

SPEAKER_00 55:11

June, I think.

SPEAKER_01 55:12

Yeah, I haven't heard anything about it, and I don't want to know anything about it. Oh, I'll tell you about it. Thanks, thanks, champ. Um, what the fuck was I gonna say?

SPEAKER_00 55:24

About this is about staying in school.

SPEAKER_01 55:29

Uh I don't know. Um fudge. What the hell?

SPEAKER_00 55:38

Hey, oh, here's a here's a suggestion because we're at 56 minutes.

SPEAKER_01 55:42

Okay, are we gonna end it in in four minutes? Because I just want to check something. You can keep talking. Okay.

SPEAKER_00 55:48

All right, so here's my idea for how we we wrap this this segment up. Um let's throw out some ideas for episode six.

SPEAKER_01 56:00

Episode six.

SPEAKER_00 56:01

Like right now. Right. We'll throw them out and then maybe we could get comments of no one's gonna comment, dude.

SPEAKER_01 56:10

That's a that's a negative outlook.

unknown 56:12

God damn.

SPEAKER_01 56:12

We have we have a lot of listeners and a lot of a lot of viewers. We're gonna get some. It's gonna snowball.

SPEAKER_00 56:18

We're gonna get the you know what we need. Stop interrupting me. I'm doing my no, no, no. Sorry. So we let's let's talk about don't go into you know what we need thing. That's all that's all now.

SPEAKER_01 56:28

That's just fucking continue talking.

SPEAKER_00 56:32

You were saying? So let's let's come up with three ideas for next time, and then hopefully there's at least one person out there that watches us that will comment and says, I just do that one. Do that one. Okay. Okay, you go first.

SPEAKER_01 56:51

You're an ass. Um one topic. What you alright there, buddy?

SPEAKER_00 57:00

I've got one. After you go ahead. No, no, no, you do yours.

SPEAKER_01 57:03

No, maybe it'll uh, because I don't have one.

SPEAKER_00 57:06

Um so we could talk about going from studio to stage if you're recording live. Studio to stage, yes. And all the the things that you need to be aware of as you're getting there, because it's a lot of stuff. There is. Um, and you do need a team help. Yeah, there's no way you can. Even if you orchestrate your own stuff, uh. You need somebody to handle the yeah, there's a lot of things.

SPEAKER_01 57:35

I mean, we can get into it, but there's booking, there's yeah, yeah, but okay. Oh, yeah, yeah. So that's one that's one topic. That's a good copet.

SPEAKER_00 57:42

Well, we'll do that one at some point anyway. That's a good copet. But perhaps next time. So, all right, what's yours?

SPEAKER_01 57:46

So I don't know what mine is. Mine would be how to deal with agents.

SPEAKER_00 57:56

Okay.

SPEAKER_01 57:58

Have a very short conversation.

SPEAKER_00 58:00

No, I think it's a good one. And also for the people that are watching that aren't like firmly in their career with an agent. We could talk about getting do you need an agent? Right. How do you get an agent? When's the right time to get an agent?

SPEAKER_01 58:17

And does an agent.

SPEAKER_00 58:18

So we could do like a whole agent thing, that'd be good. Yeah. Okay. Um, and number three. We have to say the same thing together at the same time.

SPEAKER_01 58:25

It's never gonna happen.

SPEAKER_00 58:30

Um yes. Um I don't want to I don't want to talk about AI.

SPEAKER_01 58:39

How about, how about I was just talking to somebody about this. Uh location. Of what? Of you, of your studio, of do you have to be in LA.

SPEAKER_00 58:53

Oh, okay. That's fine. I mean, that's that's a pretty short one too.

SPEAKER_01 58:58

It is, but there's there's reasons why you do need to, and there's a lot of reasons why you don't need to be.

SPEAKER_00 59:04

Depends on what you're writing for.

SPEAKER_01 59:07

I mean, unless you're writing it in front of it.

SPEAKER_00 59:09

Because there's obviously composers around the entire world. Yes. They're not all in LA.

SPEAKER_01 59:15

So okay, we won't we won't we won't go too deep into that. But yes, I think that's a good topic maybe we can include in another episode, not be the episode's topic.

SPEAKER_00 59:25

But I think that's that's I would like to say um LA's got enough composers. Go somewhere else. You don't have to come here. It's so crowded. It is crowded. I mean, just people in general.

SPEAKER_01 59:36

Composer or a plumber, just stay out. Well, why would a plumber want to come to LA?

SPEAKER_00 59:41

A lot of leaky pipes. You don't need to be in a lot of leaky pipes. Um okay, so there's that one, and then we could do another one of um our experiences, maybe on where we've recorded and why did we go there.

SPEAKER_01 59:56

Oh, that's actually really good.

SPEAKER_00 59:58

That's a good one. Okay, all right, all right. So these are usually just comes down to money. Yes. Spoiler alert.

SPEAKER_01 1:00:06

All right, these are on file in this video.

SPEAKER_00 1:00:08

All right, so that's four things. That is four things. We really outdid, we really outdid ourselves there. Oh, it did take us four minutes to do to get there. But that's not bad. One a minute.

SPEAKER_01 1:00:18

Um, if we can keep this at one hour and five minutes, it'll be our shortest episode ever. Are we cheating people out?

SPEAKER_00 1:00:26

Let's just cut it right now.

SPEAKER_01 1:00:27

But we'll just do the thing is I have to do an intro first.

SPEAKER_00 1:00:33

We talked about the the Irish goodbye last time. Yeah, the this is which is I feel like I'm able to say it because my wife is Irish, so I feel like I get to say things like Irish goodbye. I don't think that's offensive, dude. It's not? No. I dare you to say that in front of somebody Irish. They're gonna they're gonna punch it. I'm gonna say it in front of your wife next time.

SPEAKER_02 1:00:56

And she was gonna punch my face.

SPEAKER_00 1:00:58

Um but no, but that could be our thing. We just we just we don't say goodbye, we just get up and leave and then let it go for another hour.

SPEAKER_01 1:01:06

Another hour. Um or just a cut the black would be funny, you know.

SPEAKER_00 1:01:13

Oh, like the like the intro to Better Call Saul where it's like sorry, I don't watch it.

SPEAKER_01 1:01:17

Oh I never watched it. We should have a podcast on shows that Kevin has never watched. That could last three hours. Yeah. I did watch Pluribus, though. All right, well, Better Call Saul's really good. I know. And she was in it, wasn't she? She sure was. She's good. Alrighty. So I'm gonna say this in the beginning of the episode when I record it, um, after we do our goodbye. But subscribe, like, share, all the good stuff. Tell your friends. Tell your friends. Um, I think we should tag film schools and universities, all of them.

SPEAKER_00 1:02:02

Oh, yeah. I've actually um lectured at Berkeley before.

SPEAKER_01 1:02:06

Here you go. Maybe I can uh ask Kubilla. Uh oh yes, Kubi. Kubi. Yeah, that's what I email them. Yes, you know Kubi and pass us in Chicago.

SPEAKER_00 1:02:17

Yes. And I used to do master classes in Austria.

SPEAKER_01 1:02:21

Oh, dude, there you go.

SPEAKER_00 1:02:22

Let's Hollywood, uh Hollywood music. Let's music.

SPEAKER_01 1:02:25

Let's use our connections. I think that would be great. Yeah. So when this video goes up, we gotta tag them all, or you gotta give me their handles and I will tag them, and hopefully uh they will share and share alike.

SPEAKER_00 1:02:38

Maybe we get to take this on the road. Oh my god, let's not get greedy. Oh, we'll get like a sweet like airstream. We drive to Chicago, we drive to Boston. Dude, this shit's gonna be making money for us to do that. And I don't think the sponsorship's coming. Oh man. Should we do this? Enviousity, real crafter, real crafter, uh Berkeley School of Music.

SPEAKER_01 1:03:08

Um Chapman. There's another one, you know they're going down here for film production. Um, all right, that's good. I think we're good. Thanks for joining us for those that joined us. Um yeah. All right, the end. The end of the day.