p. 25 p. 26 p. 27


Will: So how was it working for Disney?

Marc: Um... challenging. Sorry, am I giving one-word answers?

Will: No, that’s good, the more the better. That way the readers won't get bored and turn to the net instead.

Marc: The interesting story on George of the Jungle is that they wanted me to record it in England. Which they didn’t make perfectly clear until after 1 had signed to do the movie and was already just starting work on it—if that had been made abundantly clear during negotiations, I simply would’ve said no.

Although I would like to work in England someday, I would like for it to be on the proper score, like a score like, well ironically The American President, a score with a certain grandeur and also a certain kind of simplicity.

Will: Wasn't it a financial issue though?

Marc: Yeah, they felt it was cheaper. Of course I kept telling them, by the time you bring my equipment over there and set me up and my entourage and my conductor and my engineer—and I wasn’t going to break up my whole team... I said to them, why would you hire me and then ask me to work at less than my potential by breaking up my team and my work environment? Luckily once I started writing the score, they were so happy with what I was writing that when I once again reminded them that we would not get the certain Hollywood-style playing necessary for the kind of almost Warner Bros. cartoon moments in the movie... luckily music has charms that soothe the savage breast. They relented and allowed me to record in America.


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