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GAL Chat with Kevin Kiner!
53 Plays5 years ago
Welcome to GAL Chat with The GALactic Podcast! In this episode, Andrea and Lauren had the pleasure of talking with the one and only Kevin Kiner! They discussed a little Star Wars music and how Kevin was influenced by the music of Star Wars, the process of composing and much more!
As always, please like, share and subscribe to the podcast where available. Follow us on twitter @theGALacticpod. And as always, may the that force be with you!
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Transcript
Podcast Introduction
00:00:02
Speaker
This podcast is part of the Red 5 Network. For more Red 5 Network podcasts, visit red5network.com.
Meet the Hosts
00:00:14
Speaker
All right, well, hello, everyone. Welcome to the Galactic podcast. I am Lauren Romo, and with me, as always, is my cousin and fellow nerd, Andrea Gutierrez. Hello.
00:00:30
Speaker
How are we doing tonight, Andrea? It's pretty good, man. Feeling all right? All right. Yeah. Yeah, we're we had a fun show today. So let's we're going to get this intro out of the way and we were going to we're going to have some fun. We're going to have a lot of fun. All right.
00:00:45
Speaker
This is your first time listening to
Exploring Star Wars Topics
00:00:47
Speaker
us. Welcome. We are a Star Wars podcast to discuss anything and everything within the galaxy far, far away. In each episode, we will dive into one or two topics and have a general discussion on them. Topics could be movies, TV series, books, comics, a specific character, and you name it. We talk about it, Andrea. Yo, yo. So we haven't discussed Star Wars music at all yet in our podcast.
Guest Introduction: Kevin Kleiner
00:01:10
Speaker
We dabble a little bit. We dabble a little, but I figured today would be a good day to do that because we have a very, very special guest with us. Our guest has multiple Emmy and Annie nominations, as well as 12 BMI Awards. You know his work from shows like Narcos Mexico, CSI Miami, The Clone Wars, and Star Wars Rebels, just to name a few. He's one of the most sought after composers in Hollywood today. We are so honored, Mr. Kevin Kleiner, how are you today, sir?
00:01:39
Speaker
I'm really well. It's nice to be with you. Thank you. Thank you. Yeah, we are. We are really excited. Honored to have you on our show. So I can't believe you haven't discussed Star Wars music very much. I'm glad I'm the first. I'm glad I'm rectifying that.
00:01:59
Speaker
Well, we figured we'd bring in a really good expert to do it when we did it. So we figured you'd be a good person to do it. So again, thank you so much for joining us today. So I kind of want to start with you, with your childhood.
Kevin's Early Influences
00:02:14
Speaker
Were you big into like comics and the kind of the sci-fi genre when you were little? I wasn't per se into comic books. My brother really was.
00:02:26
Speaker
I was more I was into cartoons and comic characters. I love the early Batman TV series. And in fact, later in my life, I got to work with Adam West, which was so cool for me. Nice. Yeah. And I love the like the Spider-Man cartoon, whatever one that was when I was, you know, a kid, which would have been the 60s.
00:02:56
Speaker
Yeah, maybe late mid late 60s, something like that. But but not so much comic books. And then, you know, I was I was going to UCLA when Star Wars came out. And that was that was a huge deal for me. I mean, that was Superman and Star Wars. Those were really, really big deals for me.
00:03:19
Speaker
Yeah, I just I'm glad you brought that up. So obviously in 1977, Star Wars, it's not even a new hope yet, but just Star Wars comes out. Yeah. And you're you're at UCLA at the time, correct? Yeah, that's right. Now, were you in premed? I read somewhere you were in. Yeah, I was premed in undergrad. I never took a music class there. I actually never taken.
00:03:45
Speaker
You know, I I audited a few classes at UCLA. I just, you know, and then left. So I mean, I have no formal musical music education. Wow, that's crazy. Wow. Neither do we. So we're on the same company. Well, I'll let you guys score the next show then.
00:04:12
Speaker
we appreciate that so yeah so let's talk about you know you go and see this movie star wars in 1977 it's a obviously a huge hit you know with many many many people now did you know when you when you went to the movies and you hear that score for the first time did that really was that a big influence on you at the time.
00:04:32
Speaker
It was. And as was Superman, I would say those were the two really huge influences on me. And even if you watch the old, the first Superman movie with Christopher Reeves, the only thing that really holds up in that film is the music. And it sounds like it could be on a film today. In the same, you know, with Star Wars, the Star Wars films
00:04:58
Speaker
hold up much better than the Superman films do in terms of, you know, not looking dated. Um, but you know, when I heard that sound, I wanted to figure out how to do that. That's awesome. Yeah. That's so, I mean, was it really, I mean, I, I just, I'm obviously, I wasn't, I wasn't old enough. I know Andrew wasn't old enough to experience it.
00:05:19
Speaker
Was it really? Because I mean, I just remember seeing like these photos of, you know, huge lines at these theaters to go see this movie. Was it was it really like like that and just like the energy and all that? Yeah, it was it was insane. So I I don't know how I heard about it, but.
00:05:35
Speaker
There was an enormous buzz and I went and saw it in Westwood, which is the little, you know, the city right next to UCLA. UCLA is actually part of Westwood and it's like a nice little village with theaters and coffee shops and stuff like that. And the line was
00:05:55
Speaker
around and I don't remember how good a seats I had for the very first one. I don't think I'm I'm I'm pretty sure I didn't go to the midnight showing. I don't think there was a midnight showing of a new hope, but I did go to all the other midnight showings after that.
00:06:11
Speaker
Wow, that's awesome.
Auditioning for Clone Wars
00:06:13
Speaker
That's so cool. So obviously you, you know, you start going into music and everything like that within your career. You've done so many different shows, as we kind of mentioned up top, but you were, after you were, you went through the process of doing this new Star Wars animated movie back in 2000, 2008, as we know as the Clone Wars. Talk about that process a little bit and how kind of that all came about.
00:06:39
Speaker
Well, it was an audition process. I believe George Lucas was a fan of the music I was doing in CSI Miami at the time. I think part of the thing about the Miami CSI was that
00:06:56
Speaker
All the people were beautiful. You know, it was all the Miami kind of bikinis and nightclubs and gorgeous, gorgeous camera work. And also the music had to be super, super hip. That was just really important that the music be very current and and cutting edge. And I mean, to this day, the scores I did for CSI Miami, I hear things currently in
00:07:22
Speaker
in shows that came out yesterday that are similar to what we were doing back then. So I think that's how George put me in the next. It probably helped that I'd done other sci-fi projects. I'd done a movie called Wing Commander. There was a couple other sci-fi projects that I'd been part of. I did Stargate SG-1. You know, I think that combination. And so then I don't know how many. I think there were five or six of us
00:07:52
Speaker
We all flew up to Skywalker Ranch separately. We didn't really meet each other or anything. We didn't meet with George. We met with Dave Filoni. Dave gave us kind of 10, 15 minutes of the first
00:08:07
Speaker
bit of the show and sent us back and, you know, gave us some directions and kind of what they were looking for. And, you know, we went back, we all went back and scored it. I know a couple of the composers that were part of that audition are very serious, A-list movie composers nowadays. So it's cool to have been part of that. And it's cool that I got to be the one to do it.
00:08:35
Speaker
Yeah. Now, I mean, talk about meeting George Lucas back then. I mean, obviously, he's done all these, you know, Star Wars movies that you're probably a fan of. Was it was it kind of like awe inspiring or was it just was it a little bit intimidating?
Meeting George Lucas
00:08:49
Speaker
Yeah, it was. So it's one of those things where it was just mind-bendingly scary.
00:08:58
Speaker
Until the actual time when I met him. And I think that I was looser with George than I've been with almost anybody. I don't know if it was a defense mechanism or it's just that he's such a chill dude and he's just a really nice guy. There's no pretense with George.
00:09:20
Speaker
There's no Hollywood B.S. or anything like that. It's it's just a guy in jeans and a plaid shirt, man. And and he's got great ideas and you know, he's really he's got opinions and he had things he wanted me to do. And so once once we started talking about what to do, you know, and what kind of experimentation he wanted me to do,
00:09:45
Speaker
It was it wasn't scary at all. I think then when I came back here to the studio, it was it was really the most difficult thing was rearranging the main title theme. And I.
00:10:00
Speaker
I'm on record numerous times as telling George that it didn't need to be done and we shouldn't do it because John Williams is the greatest film composer to ever live and he did it perfectly the first time, so why mess with that?
00:10:17
Speaker
But, you know, so coming back with George insisted and he wanted percussion. He wanted the world kind of sound. He just wanted a different take on it. That was really hard. And I spent a bunch of days just coming up with garbage and and getting pretty upset about it and wondering if you know what was going to happen, because that was kind of the first thing I needed to do. But fortunately, I found a solution. So worked out.
00:10:45
Speaker
Yeah, and that's probably one of, you know, the Clone Wars, you think of that, you know, that opening score. It's iconic now and it's awesome. So, I know you mentioned John Williams a little bit ago. How many times have you met with John? And what was that experience like? And then what, you know, did he give you any great advice that you kind of, you think of and use at, you know, during your time now?
00:11:12
Speaker
I've only I've met John Williams twice. Both the times we were both receiving BMI awards. And neither of those times I wasn't working on. I don't think any Star Wars project either time. I know the first time I was not. No, I've never discussed it with him. I've I've met him and just told him what a fan I am. And
00:11:38
Speaker
That's been about the extent of it. You know, I tell this story sometimes.
Composing Star Wars Music
00:11:45
Speaker
I had a film I did maybe 10 years ago or a little more. And they just came out with a part two of it and a friend of mine
00:11:56
Speaker
scored part two and he asked me for the, I wasn't agreed upon that I, it wasn't like I got fired. It was agreed upon that this other guy score part two, but he wanted to use my themes. So I sent him my scores and everything, and he really did a great job, but I really wasn't that, when I heard him using my themes, what I really liked about the score was when he was not using my themes.
00:12:25
Speaker
And when he was using my themes, he did a really good job. But it's just not, that wasn't my vision for those themes. I had certain counter lines that I wanted them to do. I had the cellos to do one thing and the violence to do another and the horns to do something else. And that's just, you know, sort of like what I argued with George Lucas about rearranging the main title. I mean, I imagine John Williams is not very happy with my version of it because
00:12:55
Speaker
I don't maybe he is but that's just not what his vision was and and you know and he didn't
00:13:04
Speaker
So I'm glad I've never, that's one of the reasons I've never talked to him about. And also that experience of somebody using my themes really taught me a lot about how I should approach Star Wars because I'm at my best when I'm using the moods and the palette of John Williams, but not ripping him off. I'm at my best when I use my own voice.
00:13:31
Speaker
Nice. Yeah. Yeah. And you you have a great you have a great voice. Huge. Obviously, we're huge fans of yours. So kind of go into a little bit of Star Wars and doing the score. Do you remember like maybe what what was the most challenging sequence you had to do in either Clone Wars or Rebels? Well, there's there's been a lot of big challenges. I think one of the most iconic
00:13:58
Speaker
In like season five, I believe it was there was when Ahsoka leaves. And, you know, that's the fans have really gravitated towards that cue. It's a really popular piece of music. And, you know, that was a that was a huge challenge, but it was also in a way it was easy because the scene was so good. Oh, yeah, it was.
00:14:23
Speaker
Yeah. And whenever a scene is really good, if you're good at your craft, you just kind of, you fit right in there with, and it makes you good. It makes the composer good if you're worth anything.
00:14:40
Speaker
Um, one other thing that I, I really am, uh, proud of is, is the, uh, so the, the, my rearrangement of John Williams's melody plays at the beginning of Clone Wars. And then it goes into something I call, uh, a galaxy divided, um, which is, and, and that runs under the, uh, the announcer and he kind of, uh, he's doing the, you know, and
00:15:05
Speaker
That's that bouncer voice. And I'm really happy with that piece of music. And that was sort of where I stepped in. It was like, because that's my melody, that's my tune there. And that's where all of a sudden now we're in Clone Wars. Now we're not in the movies anymore. Now we're in the Clone Wars series.
00:15:29
Speaker
Yeah, yeah, kind of keep going on the on the music. And you were kind of talking about how you were, you know, you're kind of doing your own your own style and kind of keeping it with kind of the Star Wars theme. Did you find it difficult to kind of blend and balance your your like kind of your sound, your established sound to go with Star Wars at all? Was that kind of a difficult process to go through? No, here are we doing video or is this audio only audio? We're doing audio.
00:15:57
Speaker
OK, because I have a book here I was going to show, but I have a score. It's not available. It hasn't been available for 20 some years, but that I brought in the early 80s. And it's it is the original score that was published by John Williams, and it has the exact orchestration that he used in A New Hope and.
00:16:19
Speaker
I've been studying that since the early 80s. Like I said, you know, I when I went to that movie, I wanted to sound that way.
00:16:29
Speaker
So even when I got the audition, I was pretty well prepared because I'd gone through that book. I mean, that book is torn up and it's got marks all over it. Like people mark up their textbooks or something like that. So no, it wasn't that difficult. I mean, because that's what I'd been working on.
00:16:53
Speaker
Wow, yeah, that's really awesome. Andrea, I know you had a couple questions for Kevin, too. Why don't you go ahead and ask him? Yeah, hi.
Comparing Music Styles: Rebels vs. Clone Wars
00:17:02
Speaker
So when scoring Star Wars Rebels, what kind of decisions did you have to make to create a different sound than Clone Wars?
00:17:11
Speaker
Well, there there are obvious decisions and some of those like, for instance, one of them came from George Lucas was that he wanted, like I said, he wanted a lot of world music influences. So there was going to be a lot of percussion, probably every planet was going to have its own ethnicity. So we we had to weave in that kind of sound. Now, now that kind of by seasons,
00:17:40
Speaker
Seven, even five. We did that less and less. The Clone Wars, the music kind of evolved away from that a bit. But so early on, you know, an obvious thing was there were a lot of drums, there were a lot of ethnic instruments. There was like one episode had a Bulgarian women's choir in it. You know, we searched for every ethnicity. So that automatically makes it very different.
00:18:08
Speaker
than anything that the feature films had done. But the other part is just like I was sort of saying with that, the galaxy divided, the piece that plays right after the opening melody. I mean, to me, I see that piece of music as a handoff, you know, from the main title theme. And now
00:18:29
Speaker
it's it's sort of that example of like that it's Kevin Kiner now that's my melody it's it's kind of my groove you can it still feels like and it's very hard to analyze because you know because i get to ask this like well what do you do and i i'm like i i just i wrote a piece of music for
00:18:52
Speaker
You know, like you asked Paul McCartney, you know, how did he come up with yesterday? And, you know, he'll tell you interesting things like the lyrics used to be ham and eggs or something like that. But he can't really tell you how he came up with that great, unbelievable melody. We don't know where that comes from, you know. Did you get your questions in the Andrea? Yeah.
00:19:19
Speaker
Sorry, I got one more. Sorry. Yeah, I was muted. I'm not used to this. I'm used to talking over Lauren all the time and just being like super loud. So trying to be a little bit more contained for you, Mr. Kiner. So all right.
00:19:34
Speaker
So it's funny that you brought up the the choir that you used in Clone Wars because one of the elements that stood out to me in part four of the Siege of Mandalore was the opening with the choir. Is there any specific reason you decided to incorporate the choir with the series finale for Clone Wars?
00:19:54
Speaker
That was a lot of the direction came from Dave Filoni. And, you know, as I remember, he wanted to do that. We recorded that in Budapest, actually. Oh, really? Yeah, with a live choir. Oh, wow.
00:20:13
Speaker
And that was that was a lot of fun. Again, there are elements in Star Wars that have choirs, you know, if you think of.
00:20:26
Speaker
Yeah, Duel of the Fates. Thank you. The brain was stopped. And, you know, those those kind of things. So it still fills Star Wars. But that that was that was Dave Filoni's call. And I think it was a really I think it was a great call. He's really conversant musically. He really knows his stuff. And he has a lot to do with the texture of the music.
00:20:51
Speaker
Nice. Yeah, I just wanted to say I keep saying that you were the MVP of that Siege of Mandalore because your touch in those episodes was what really just kind of pulled everything together. So absolutely outstanding. So Lauren, back over to you.
00:21:09
Speaker
Uh, yeah, that, I mean, I can kind of echo what Andrew just said. I mean, your music, it's, you know, it's so Star Wars because, you know, it's music and Star Wars, I think are so synonymous. You know, you watch these movies and you like the music pushes the story as much as the actors do, as much as a dialogue and everything like that, the action, the music.
The Role of Music in Storytelling
00:21:31
Speaker
Really, I think pushes the story. Do you feel that way too, Kevin? Is that how you approach it? You want the music to push the story as much as anything. Yeah, I don't know exactly what it is. There's a quote.
00:21:47
Speaker
from George Lucas about the music in in Star Wars and it's it's something about how it's it's you know along with the writing and directing one of the most important elements I forget exactly what the quote but you know it's well known from what John Williams did that that music
00:22:08
Speaker
is definitely one of the legs that those films stand on and really what makes those films stand out. So for me to be in the position that I was in and to be able to do the Siege of Mandalore, which is, you know, that's kind of what we all envisioned. I mean, that arc in many ways is
00:22:32
Speaker
when we started doing Clone Wars 12, 13 years ago with George Lucas, that's what we wanted Clone Wars to be. I think we reached our goal, kind of, and myself as well. I'm a better composer now than I was 12 years ago, and the animation is better, everything's better. So we really found a comfort zone. It was pretty spectacular to be part of that.
00:23:00
Speaker
Yeah, it was special just as I mean, you were probably, you know, a fan like us just watching it and just enjoying it. Yeah. And then you get to do the music for it. It's great. Yeah, I can't imagine. So we've talked about John Williams and how much of an influence he's had on you. You know, John Williams aside, what other composers have had a good influence, a great influence on you and your kind of your musical choices when you score? I loved
00:23:30
Speaker
When I was getting started, so I was getting started in the early 80s in film scoring. I mean, my early background was like Led Zeppelin and things like that. I was a guitar player and I was in those kind of bands. But when I got into film music,
00:23:50
Speaker
You know, my number one hero was John Williams. I would say, you know, Jerry Goldsmith was a huge influence, continues to be a huge influence. We just, gosh, we just listened to, I think it was Mulan that was, I think Jerry Goldsmith and he's just unbelievably talented. I wound up being like very good friends with his son who passed away, unfortunately. He was about my age and Joel Goldsmith.
00:24:20
Speaker
But in my early days, Jerry Goldsmith, John Williams, not in this order, just Ennio Morricone, John Berry. These are melody guys. And maybe Elman Bernstein, not as much Elmer. I would say Jerry, John, Ennio, these guys, you can all use their first names and you kind of know.
00:24:48
Speaker
Anyhow, yeah, and John Barry, I guess you can't use his first name, but, you know, I mean, he came up with all the James Bond and Somewhere in Time and all those, you know, really, really just fabulous melody, guys. And, you know, that's what sets that kind of film music apart is melody.
00:25:07
Speaker
Yeah. Yeah. Yeah. James Warner, another great melody guy. Yeah. Yeah. Like you said, it's, you know, Star Wars, it is melody. It's not like you're you're rock and roll or whatever. It is more melody. So, yeah, that's no. And it's not like, say, like Dark Knight or something like that, which is really cool score. But you only know it. You can't hum the Dark Knight theme. Nobody goes and does that.
00:25:37
Speaker
But it's a great score because as soon as you hear it, you know what it is. So it's iconic, but in a different kind of way. It's not that kind of melody way that we're John Williams or Jerry Goldsmith or Ennio Marricone.
00:25:50
Speaker
So we have a couple more questions. We're going to be, you know, we'll get you on your way. And again, we appreciate your time. Kind of fun questions. Obviously, you're hanging out on a Saturday night. What's in your playlist, Kevin? Who do you listen to? What kind of bands do you listen to? How do you, what music do you kind of chill and relax?
00:26:10
Speaker
So I go through periods of my life where I will I would say I don't listen to music besides my own. Nice. For a year. I bet that I won't listen. Like I get my car, I listen to talk radio.
00:26:30
Speaker
I sit in this recording studio, which is a significant studio here, like 12 hours a day, five, six days a week, I mean, and and I have for 35 plus years. So my ears are burning. I've been in front of speakers all day long. I saw I will if when I have some downtime and I've been fortunate in my career, I don't have that much downtime.
00:26:58
Speaker
But I have found myself going back and listening to the classics that I listened to when I was a kid, which is like a lot of Led Zeppelin and even Queen. Yes, I was a big fan of Yes. I love, one thing I do love to do, you talk about on a Saturday night, I love to watch the, there's a channel called AXS Axis.
Kevin's Personal Music Tastes
00:27:26
Speaker
And they have all these interviews with and sometimes documentaries about all those bands, like from back in the day, like, you know, from even Kenny Loggins to the Eagles to, you know, to the Doobie Brothers and, you know, I mean, Led Zeppelin, all the cats about Albert Plant and them.
00:27:49
Speaker
I love watching those interviews and watching some of that old footage. I think there was a cool documentary called Echo in the Canyon, which was about the whole scene in Laurel Canyon with Linda Ronstadt and everybody. That's a great documentary. I really dig watching those documentaries, music documentaries.
00:28:13
Speaker
Yeah. And you did, um, for Netflix, you did, um, the how to, oh God, now I'm blinking on the name. Yeah, you did the, you did that score. That must've been a little bit different from Star Wars for sure.
00:28:27
Speaker
Yeah, that's one of the things I'm proud of in terms of my career and what I've become as a composer and as an instrumentalist. I played those guitars and I did a show called Hell on Wheels and currently I'm starting on
00:28:48
Speaker
uh season three of Narco's Mexico uh and I play those instruments and that's extremely different from you know writing for a full orchestra which I do in you know Clone Wars it's been great for me because it's it it just gives me a different palette it's it's variety you know so so I'm not doing the same thing every day you know it's like oh wow now all of a sudden I gotta get my guitar chops kind of together and I gotta
00:29:15
Speaker
You know, I mean, I sit around, that is a thing I do. I do practice guitar like every single day. And I practice piano every single day. And I do it kind of for enjoyment. I go out, I mean, I'm in California and the weather's pretty okay. And I'll just kind of look at the sky and lay back and just do finger exercises with my guitar. It's really a relaxing thing for me.
00:29:42
Speaker
Wow, that's cool. That's really, really cool. I know Andrea. Andrea's got our last question of the day. Go ahead and give it to Andrea.
Upcoming Projects
00:29:50
Speaker
Yeah, I jumped into a little bit of this just a minute ago, but what's the future for you and any new projects coming up that you can discuss? Well, unfortunately, I mean,
00:30:02
Speaker
A lot of filming stopped. I was working on, I was just about to start season two of City on a Hill, which is a Showtime excellent series. I did season one as well. That was an audition process the same way. And that's Kevin Bacon and it takes place in Boston.
00:30:24
Speaker
Really, I highly recommend if you're, you know, you're bored and you're looking for something new to watch City on a Hill. Season one is really, really cool. But then they were filming in New York a lot in Boston, so they had to stop and and also Narcos Mexico. I, you know, starting season three of that and that.
00:30:45
Speaker
only got about three episodes in and they had to stop. Although I think they may be starting up maybe in a month. It's hard to say. I'm just finishing up season two of Doom Patrol, which was really, really fun. Doom Patrol is a really fun show. And I think season two is going to come out on HBO. What's it called? Max or Plus? Yeah. Yeah. Is it Plus or something? I thought it was to.
00:31:16
Speaker
Anyhow, so yeah, anyhow, those are the latest things that I've been working on. I also have a couple, oh, there's a project called Tressé I'm working on for Netflix, which is an animated show.
00:31:31
Speaker
And it's mythical Filipino creatures from Filipino lore. And I married a Filipina 37 years ago and both of my boys work with me now and they're really into it. We went and recorded some vocals and we're doing some indigenous instruments for that.
00:31:56
Speaker
It's it's almost kind of like a horror show in a way. I mean, it's definitely adult animation. It's some gnarly, gnarly mythological stuff that happens. That's cool. That's our ESE. It's called Trece. OK, well, that doesn't have to keep that. Keep that in mind. Real quick, I got my follow up. Now you said you have two sons. They are also composers, correct? Yeah.
00:32:20
Speaker
And did they help? I think they helped you with Clone Wars. Both of them are one. No, both of them. Yeah. My oldest son, Sean, was largely responsible for the melody, the Bad Batch theme, which was started off season seven. And then
00:32:44
Speaker
He he he also, I mean, he worked on a lot of both him and my younger son, Dean, worked on a lot of the synthesizers and the sounds and also the composition for like, for instance, the scene where Ahsoka is taking Darth Maul. He's kind of caged up in like that Silence of the Lambs kind of. Yeah, yeah.
00:33:09
Speaker
And she's taken him back up to the cruiser and ship. That's a very long scene with no dialogue or sound effects. And both my boys were heavily involved in writing that. Really?
00:33:25
Speaker
Yeah, and they they work here at this studio. We have three recording studios here or three separate rooms and we walk back and forth to each other's, you know, rig and and make comments. I listen to less of their comments than they do. I don't know. It depends on my mood.
00:33:51
Speaker
That scene that you just mentioned, Lauren and I just had a recap episode of part four. No, that was part three. But that moment, exactly what you said, where there was more composition than there was dialogue. And we talked about how that was just a great moment to just slow down the pace of that story and to get you really into this type of anxiety feeling of what was about to happen. So it was outstanding. Tell your boys that that was great.
00:34:20
Speaker
Yeah, we loved it. Yeah, they're making me look good these days. You know, I'll tell you a story. We we we worked on a film called Ghost in the Shell with Scarlett Johansson. We just we did some additional music. They got caught in a bind and we did some of the action scenes. And there was one scene where I really wanted to do it as a big tank battle thing. And
00:34:46
Speaker
So anyhow, we're doing this action scene, and I really wanted to score it. And my sons were kind of itching to do it too. And so I'm like, okay, fine, we'll both do it because, you know, when you're doing those, that was a, you know, $100 million movie or whatever it was, it was big budget films, you know, the studio heads all go.
00:35:10
Speaker
They have a lot of say and there's a lot of back and forth. So I said, well, just give them two cues. And that way they'll have some choice. And they wound up choosing the one that my boys worked on. You know, nice. Yeah, it's great because it's really good validation that I'm not just being a proud dad or something or that, you know, it's not nepotism. It's it's they're highly skilled dudes and and they're they are making me look good. And
00:35:37
Speaker
That's just a fact. It's really wonderful. Wow, that's awesome. That's really, really cool. Well, Mr. Connor, again, we are so honored. Thank you so much for being with us today and sharing your story and everything like that. We really appreciate it. Appreciate your time so, so much. Thank you so much. Yeah, thank you and all the Star Wars and Clone Wars fans out there. I appreciate you so much and I hope you enjoy our work and it's fun to be a Clone Wars fan.
00:36:07
Speaker
Yeah, it really is really is really. So yeah, so thank you so much everybody. I hope you guys enjoyed this episode as much as we did. It was a lot of fun talking to Mr. Kiner. Obviously you guys can. If you haven't follow us yet, please follow us on Twitter at the Galactic Pod. You can follow our episode like this one and all the rest of them on Apple Pod, Google Play, Spotify and Podbean. And then you can follow me Lauren Romo at lower nose on Twitter.
00:36:33
Speaker
You can follow me, Andrea Gutierrez, at r2d2step on Twitter. And may that force be with you guys. Always. Always.