00:00Do not stop this car!
00:09Welcome to the Eastwood Scoring Stage here at Warner Brothers Studios where we are recording the film score for Zootopia.
00:15Zootopia is a city that was made by animals for animals and so as we developed this idea we came to him and said that we want to have a really world music vibe.
00:41It's like a real city and then underneath that we have sort of a very hip vibe happening as well.
00:47And it's great so being able to mix all of those things together really does help make it feel like you're in a modern city except with animals.
00:55Basically the idea for this film was to bring a bunch of weird sounds together.
01:00John kind of challenged me to go out and find exotic things.
01:03So I called Bernie Dressel my drummer and said what do you got that will give us something different but you can still play like a drum kit.
01:11So this is what he brought in.
01:14You'll see his kick drum is made of an old wash tub and then same with this tom.
01:18We have a wash tub over here.
01:21Back there we got an old oil drum.
01:23Oh that's cool.
01:24If we do something like this we can immediately be drums.
01:28And in the meantime.
01:37What I love about the guys I work with it's a really collaborative environment.
01:40And I love talking to them about what they have and what we can do.
01:43We're here on the scoring stage in Burbank at the Warner Brothers studios and I'm here with...
01:49Hi Byron Howard.
01:50And Rich Morin.
01:51You're the real Michael Giacchino?
01:53Really? The one and only?
01:58Working with musicians.
01:59They're really like actors in a way because you're giving them lines to interpret and that's what's really wonderful.
02:04Michael wrote a specific bass line that goes...
02:06No.
02:09We have the greatest rhythm section of all time.
02:12Who anchors the rhythm section?
02:13That's the bass player.
02:16What I play is two, three, four.
02:27Of course one of the most important areas of the film sonically is percussion.
02:31I mean look around.
02:32We have all these choices of what we can do.
02:33We have djembes and congas and bongos and all of these drums.
02:36And we also have very strange sounds as well.
02:43That's creepy.
02:48The film is very emotional in addition to being very funny.
02:51So I wanted something to underline that emotion.
02:54The main theme is built around the idea of these instruments doing these repetitive sort of...
03:04It's just meant to be a very simple meditative feel.
03:07You gave her a clown vest and a three-wheeled joke mobile in two days to solve a case.
03:12You guys haven't cracked in two weeks?
03:19If you'll excuse us, we have a very big lead to follow and a case to crack.
03:24Officer Hobbs.
03:25Officer Hobbs.
03:29It's one of the most amazing things for us as filmmakers to come in and to see you play and it's magnificent.
03:38The piccolo 175.
03:39The piccolo 175.
03:40Can we have this loop two but an octave lower?
03:41Can you read off that guy?
03:42That's it.
03:43That's what I've been missing.
03:44I've been missing.
03:45I've been missing.
03:46It's one of the most amazing things for us as filmmakers to come in and to see you play and it's magnificent.
03:51The piccolo 175.
03:52Can we have this loop two but an octave lower?
03:53Can you read off that guy?
03:54That's it!
03:55That's what I've been missing!
03:56Oh!
03:57Keys!
03:58Keys!
03:59Keys!
04:00Keys!
04:01All right!
04:02Come on!
04:03Thank you!
04:04I love you!
04:05Bye!
04:06Bye!
04:07Bye!
04:08Bye!
04:09Bye!
04:10Bye!
04:11Bye!
04:12Bye!
04:13Bye!
04:15Bye!
04:16Bye!
04:17Bye!
04:18Bye!
04:19Bye!
04:20Bye!
04:21Do you catch any of that one?
04:23No, I love it.
04:28Ah, Michael, that is so beautiful.
04:33Oh, Michael, that is so beautiful.
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