![]() ![]() I’m not trying to pretend that Metallica and Iron Giant and a symphony are one in the same. I cannot say that I invoke him when I’m doing most film scores, but the spirit of music is what I do, and I want to convey my enjoyment of it in the different languages I speak. I guess I have models that I do respect tremendously, but I don’t think of consciously when I’m looking at something else. Is there something specific-be it music, art or literature-that inspires you while studying how to bring out a character in a film? Our emotions are different, but our way of expressing them musically isn’t really. I’ve suddenly turned philosophical and said, “Oh, yeah, what it’s all about is that I think they are the same thing.” I think we’re the same people, we’re musicians and we express our feelings. That’s the realization that has occurred to me in the barrage of work that has been Metallica, Iron Giant and the symphony. I never did distinguish between one kind or another kind-it’s just the bits that I could remember and the bits I couldn’t remember or wanted to remember, wished I could remember, which is what I’m into now, writing my symphony. It’s music, you know, which is what I sleep and breathe and dream. The fact that they are not very different, that they are all the same. When it comes to working in these disparate arenas, what drives you? I’m very happy that you mentioned them as a triptych, because they seem that way. It’s been very rewarding to be working on these three projects. With the Metallica collaboration, the “Symphony for the Millennium” and the Iron Giant score, this seems a nice way for you to finish off the century. He’s also worked with a bevy of musicians ranging from Bryan Adams on the hit song “Everything I Do (I Do It For You)” to Eric Clapton, David Bowie and Bob Dylan. While 1999 was a busy year for the composer/arranger, it was by no means his breakthrough year-his reputation is already well-established from his extensive film scoring work, which includes Brazil, Mona Lisa, all four films in the Die Hard and Lethal Weapon series, Robin Hood: Prince of Thieves, What Dreams May Come and Mr. The symphony will premiere at the Kennedy Center in Washington, D.C., on January 11, 2000. The balance of this year will be spent composing “The New Moon in the Old Moon’s Arms-A Symphony for the Millennium,” which was commissioned by Leonard Slatkin and the National Symphony Orchestra. He’s coming off a tremendous first half of 1999, during which he composed the score for the animated feature Iron Giant and worked with the multi-Platinum rock band Metallica on an evening’s collaboration with the San Francisco Symphony. Michael Kamen is sitting back, looking over the sea at his home in Tuscany, Italy. ![]()
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