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02:26Atticus Ross and Nick Tuber.
02:28We've got to start by saying also my brother, Leopold Ross.
02:39Leopold.
02:40Come on, give it up.
02:45And I want to say thanks to all the musicians tonight.
02:48Incredible night.
02:49And especially Tyco L.A. who came up for us.
02:53Thanks.
02:56Absolutely.
02:58I heard this, you've been working or were working on this for two years.
03:02Is that right?
03:05Yeah, essentially we were because we got a call in COVID,
03:11you know, which is that kind of time stood still.
03:16You know, so it's nice in a way and it was from a friend of mine
03:21and Leo's called Jamie Wheeler who is a producer on it.
03:24And she said, you know, we're making this show, Shogun.
03:33It's going to be all in Japanese.
03:36You know, it wasn't kind of like, it didn't read as we're making this
03:42kind of monumental piece.
03:45It read much more like we're doing a kind of avant-garde art thing,
03:49which is how we started out.
03:52But it was one of those things where I think, you know,
03:57this comes on once in a while and you dream about when it does.
04:00Yeah, I can imagine.
04:02What was the decision-making process?
04:04We saw some of the traditional instruments there versus some of the
04:08atmospheric sounds that people know you for.
04:11What was that balance for you like?
04:13I'm going to let Nick talk.
04:15But essentially the worst thing that it could be would be a
04:20pastiche of Japanese music.
04:22But we did want to be faithful to the time and the place.
04:27So like any show and like a lot of the composers have spoken about,
04:32it's really about trying to find what is the voice, you know,
04:36what is the heart of the show.
04:38And in this case it did, it was through a lot of experimentation with,
04:44you know, traditional instruments and then stuff we bring to it.
04:48And Nick can tell you a lot about,
04:50and even give you a history lesson on taranaki.
04:54Yeah, we stumbled across a guy named Taro Ishida,
04:58who is an arranger and manager of a type of music called gagaku in Japan,
05:05which is the imperial court music of Japan.
05:09And he introduced us into this like whole world of instruments
05:14that we had never heard of and were really excited about.
05:17And we just started by kind of giving him sketches
05:22and they would improvise over it.
05:24And then we would take their improvisations and run it through our own
05:27chains of effects and turn those into landscapes.
05:30And then they would improvise over those again.
05:32So they're like sort of in a feedback loop of them hearing their sounds,
05:37but like distorted and turned into the atmospheres that you're talking about.
05:41That sounds like quite an interesting research rabbit hole to go down.
05:44Yeah, it was amazing.
05:46I mean, we did, it was all remote because it was over COVID.
05:50And we were so lucky to have met Taro because he understands,
05:55he also works with synthesizers and computers,
05:57and he was understanding what we were going for,
05:59which was not to just recreate period music,
06:01but to create this blend that felt alien to the viewer.
06:06You didn't want to just default to a big orchestra by the sounds of it.
06:11Well, it's been amazing to hear the orchestra play tonight.
06:16But as I said, when it started,
06:18there was this idea it was going to be a bit weirder.
06:20And then they went off and shot it and we'd already started writing.
06:24And Justin was like, you know, we need it to be epic.
06:29So we feel like it should be an orchestra.
06:32And we just felt like, give us a chance at epic,
06:39potentially without an orchestra and to see where we can go.
06:43And, you know, once they heard where we did go, it was all support.
06:49Yeah, and pretty incredible to hear them play that tonight.
06:52I mean, tonight was amazing.
06:53And each character in this show has their own theme, essentially, right?
06:57Yeah, Toronaga, Mariko, Blackthorn,
07:01they all have their own themes that get woven into the story,
07:05but then they also converge and blend.
07:07Like Blackthorn's and Mariko's sort of turns into one theme as the show goes on.
07:11Yeah, you're thinking about each individual character,
07:15what is the sort of authentic sound for them?
07:19Yeah, and I think just getting at the emotional core of their character
07:22and trying to think of it in sort of like what just resonates
07:26when you're watching it on the screen.
07:28If you've watched it, I mean, it's as much about what's not being said,
07:32or often about what's not being said.
07:35And I think the music needed to reflect that as well.
07:38Yeah, how do you approach that if that's the case?
07:40Well, I think it's just understanding the psychology of the story
07:43and spending a lot of fucking time working on it.
07:46Yeah, it certainly sounds like you did.
07:49How did the three of you work together?
07:51And imagine with Justin and others, what was that collaboration process like?
07:55I mean, it was cool, and it sounds like when I see it
07:59and when I listen to the record and stuff,
08:02I'm surprised at how sort of big it sounds.
08:06But it was a very DIY kind of scenario.
08:10I mean, it was all home studios and, you know,
08:14the student in Japan sending his shit and, you know,
08:18just trying to figure it out, like always.
08:21It doesn't feel like the most DIY of projects, given the scale of it.
08:25I'm saying the making kind of was.
08:27Yeah, no, I can imagine.
08:29Well, look, Nick, Atticus, thank you very much.
08:32And Leo.
08:33Thank you.