00:00What is this feeling, the sound effects?
00:02Dear Melinda, you are just too good
00:05How do you stand it? I don't think I could
00:07Yes
00:07Some people, there's a little bit of backlash, which should be a compliment
00:11That's a testament to the sound design we were talking about earlier
00:13Yes, yes
00:13What do you have to say to the fans that want more sound effects, like they're watching a scene from
00:17the film?
00:17Oh, I don't disagree with that, I'm down
00:19But I did promise Stephen Schwartz that I would let him do the album
00:22And I would stay out of how, by telling him how to do that
00:25And he would stay out of the movie and he'd let me to do things
00:28So we have our respective areas of interpretation
00:30True professional
00:31Thank you
00:35To me, musicals need to feel alive and they need to feel present
00:38And I love the rhythmic nature of the choreography
00:41I mean, I think that that's really fun
00:43That music and movement is a part of the music itself
00:48Especially in this, where the music kind of already existed
00:51That it's inspired by the rhythms and the lyricism of the actual music
00:56So I love including that stuff
00:58Some music writers like to keep it very clean and sound like an album
01:02And I just, while I respect that
01:04For me personally, I like it when it feels like it's in the room
01:08And we try to do that as much as possible
01:10Well, these things are sent to try us
01:19So...
01:19So...
01:19So...
01:19So...
01:20So...
01:20That is so...
01:20But you know theenth century
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