[Wesley]

Hey Tom, sometimes I think of it that way too. Someone mentioned Untouchables earlier; I watched the film and felt like even though it was 1930s America, the music had a very European structure with few cues and lots of theme variations. My own edit took a lot of similar thematic ideas and put them together; for instance, the main theme.

Batman Forever had an operatic feel so I wanted each track to feel like a symphonic movement; this is about eight tracks combined.

A modern score like Beltrami’s Logan is just a bunch of electronic sludge thrown in a blender, so I overlaid three versions of the same track (all with different electronics) as best I could for this track. It’s fun to think of the scores as being their own little worlds with different rules about how they’re arranged.