bear mccreary

Peter: What can you tell me about the music in this film? Because I loved the score.

JJ Abrams: So do I. I’m so glad you said that. First of all, Bear McCreary with whom I’ve never worked and that Dan had never worked, I think Bear did an extraordinary job. He brought to the movie something that Dan really wanted which was a bit of a Bernard Herrmann feel. But brought to the modern age. I think that there’s a very sweet sort of sad but ultimately really beautiful theme for Michelle. A creepy theme for Howard, Goodman’s character. But he provided the movie with incredibly solid emotional foundation. And for a movie that takes place a great deal in this bunker, I think he gives the movie a scope and a scale that is really important emotionally. And I just, I really can’t say enough about working with him. He was a terrific collaborator. Wonderful in meetings and open to adjustments. He brought a very strong point of view himself. And I think his orchestrations were terrific. I just think he did a great job.


Peter: One other thing I wanted to ask you, it’s amazing how you were able to keep a lot of the footage out of the marketing for Force Awakens. And I believe that helped the experience. I feel like this film it’s the same thing. You are not showing much. How does that work? Like do you have a contract with the studios to have control over the marketing? Like it feels like a lot of other filmmakers and producers feel the same way you do. But are unable to make it happen.

JJ Abrams: Well, you know, I can only speak for our experience with Bad Robot and the marketing department, the films we worked on. And what’s been great is there’s a relationship we have the marketing departments that feel like it’s about mutual understanding and respect and strategy. And we get together very early on to discuss how we’re gonna approach what I think it is. Obviously it’s a hugely important thing, how you announce and reveal and hopefully pique interest in a story. And we made a very specific decision early on to not announce this movie a year in advance, six months in advance. We thought let’s break the template and try something new. In an age of people knowing most everything about every stage of the prep, production, post and release of a movie. And the fun of saying here comes a movie. It will be in theaters in two months. Or three months. Not give people much time to conclude, you know, to pass judgment on a movie that they could already feel that they know everything about. But rather have some fun with a movie that I think is a fun movie worth having fun with and then surprise the audience.


Peter: Okay, I have one last question for you. Cloverfield felt like the beginning of a new thing… Is there anything you wish you could have done with the original Cloverfield but didn’t have the chance at that time?

JJ Abrams: Well not really. That was Matt’s movie. Matt Reeves and obviously you’d have to ask him. But I think he did an incredible job telling a familiar story, a giant monster in the city in a way that you’ve never seen before, in a way that was unique in its found footage style, but also in its comedy and given the budget of that movie, given the constraints of the style of camerawork, I think he told an incredible and wild story in a very unique way. And what more could you ask for?


Peter: Yeah, I think that has certainly resonated with a lot of people and that’s why everybody’s looking for a sequel ever since.

JJ Abrams: You know, it would be fun to do a sequel, but we just wanna make sure it’s more than what people expect. That it’s got something really worth people’s time.

Peter: So a sequel isn’t out of the question eventually?

Publicist: Sorry, that’s all we have time for.

Peter: Okay, no problem.

JJ Abrams: I appreciate your questions though, man, and thank you for your time.

Peter: Thank you, JJ.

JJ Abrams: No, thank you.

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