How did you first get involved with Constantine?
quote-leftOriginally I was called in to meet with Francis Lawrence (the director) and editor. Apparently Frailty had been used to temp a few key scenes in the rough cut, and the director found it really interesting. He was new to the world of film scores, but he knew what he liked when he heard it, so we met and he showed me the film. At the time I saw it, it was a bit longer, but it still felt tight and it really knocked me out. So I gave him my vision about what I thought the score would be - something that emphasized the reality of the world, very dark, and makes the audience feel uncomfortable. That was the approach in the beginning - we took a "darker is better" direction on the score. It was still thematic, but very low-register, brooding - and unapologetic in the way that there was no "winking" with the audience. Even though the film is based on the graphic novel Hellblazer, it's not a "comic" in a "comical" way. I think that people tend to mistake the two - "comic" doesn't mean "comedic"! And that's where the road forked. Initially we wanted to emphasize the "Hell" in Hellblazer - it's a story about a guy who has only a few months left to live, because he's dying from cancer, and he's battling the devil, and trying to save a girl from Hell. Hellboy is an example of something that's a bit more tongue-in-cheek, and our film was dark and gritty - it was shot that way, too.