Composer Brian Tyler
DragonFast!  12 Months of Musical Fury

"You have to get into a mindset that this is the greatest “fill-in-the-blank”-type of movie ever made, and treat it that way. Otherwise you're just going to blow it, and there can't be any phone-ins because your name is on it forever. " Brian Tyler

	6 Tracks from Dragonball Evolution and Fast and Furious
	All Music Used by Permission
	Dragonball Evolution released on April 10, 2009 Fast and Furious released on April 3, 2009

CC: Well, let me jump right in. I've been curious; with this last 12 months, it seems like this has been one of the busiest 12 months you've had in a while, maybe since 2003. Is that accurate?

Brian Tyler: Yeah, definitely. It's been pretty non-stop [laughs], and a lot of different kinds of projects, which has been really cool. It was kind of “one-got-into-another.” The “no-break-between-things” really started as far back as Alien vs. Predator: Requiem, going into Rambo, which crossed-over with Bangkok Dangerous, then Eagle Eye, Lazarus Project, The Killing Room, then into Dragonball Evolution, and finally Fast and Furious.

CC: And what about the Lazarus Project? I haven't heard a lot about that, nor have I heard that particular piece, so I'm a bit curious.

Brian Tyler: It stands out as something completely different than the others. It's a really introspective, melancholy score, completely sonically different. It's got a lot of bells, Baroque strings, and piano, but all done in a kind of strange, haunting, ethereal way. It was great, and really a change from other music.

CC: That was going to be my question; given that your recent projects have been more action oriented, I was going to ask if you were looking for something a little bit different, just to exercise some of the other muscles that you have, and are very talented in. So this Lazarus Project was something like that, right?

Brian Tyler: Yeah, exactly. It was just really haunting. Sometimes I've gone and done scores that were completely different.  I haven't done anything like this score, let's put it that way. I was trying to write for glockenspiel and vibraphones. I was writing for vibraphones for the first time. There were also haunting guitars, solo violin, and solo cello, which I played. It was just a much more introspective score than the rest of them, and I hope people get a chance to hear it.

CC: Beautiful. I'm intrigued right now just by your verbal description. Well, let me bring it back to the other scores that you've worked on, and you've talked about how one score led into the other. How do you keep it fresh from one project to the next? What kind of exercise do you do in your brain to tell yourself, for example, “Ok, I'm not on 'Rambo' anymore, I'm on 'Bangkok Dangerous'”?

Brian Tyler: [laughs] Honestly, you just nailed it. The fact that I'm on a different movie with a different set of visuals, storyline, actors, and things like that; that automatically changes it up for me, enough that it's going to evoke something completely different. I've gotten into the habit of writing music for imagery. Of course, at first when I started to write music it wasn't like this. It was more along the lines of “think-up whatever and go for it”, and you can compose in a vacuum.

CC: Right.

Brian Tyler: But since I've been composing for films for quite some time, now I have this “reflective” thing that goes on when I sit down to compose themes, and it definitely comes from looking at the imagery and feeling what goes on in the film. And no matter what kind of film it is, I still go through that process. There's not going to be any connection between a score like Fast and Furious and Lazarus Project, or Partition, whereas Eagle Eye may have a few things in common with Rambo or some other kind of action film. So, there are these different styles of music, even within the action genre. Lately, the films have actually been very different, even though they're all labeled under “Action”. Even Aliens vs. Predator: Requiem vs. Rambo, which were right next to each other: One is soulful and longing; Rambo is lost amongst the action, and it takes place in Asia; whereas a science-fiction score is just totally different. I ran into that also with Dragonball Evolution and Fast and Furious, being so close together. Dragonball Evolution has this “fantastical” feeling...if that's a word...it's not but I'll use it.  It was “fantastic-ish”. It kind of feels closer to Lord of the Rings, Harry Potter, and movies like that, but Fast and Furious was totally different. I'd say the most similar would be...Fast and Furious and Fast and Furious: Tokyo Drift.

CC: I guess there would be a little similarity there. [laughs] So when we're talking about those projects, and even these two most recent ones: Dragonball Evolution and Fast and Furious, did you work on these simultaneously?

Brian Tyler: Well for the latest two, the schedules were a little compacted. Fast and Furious was originally going to be a summer movie.  Right around New Year's, we found out that it would be much, much earlier, April 3rd. And that's when I was finishing up Dragonball Evolution, which was fine because I had been working with Justin Lin, the director, for quite some time, even before they shot the film.  So I was starting to get head-starts. Rambo and Aliens was the same thing. I started before they shot it, so I could get in the groove of at least getting my bearings. Nothing specific can happen until I get the imagery, like I was saying before, until I get the film itself. But in essence, I can start to see what the themes may be leaning towards. And, I needed that breathing room; I needed -every bit- of breathing room on Fast and Furious because it was such a short schedule. But I'm used to that. I'm used to the schedules changing dramatically. If I have my druthers, I wouldn't be having two things at once, not because it affects me in a creative way, because that, I feel, never really hinders it. Unless it was “Here, do a score in 4 days.” Then I would have problems.  But, I can push it to doing 20-hour days for about 3-4 weeks, and you have to do that on some projects. That was certainly the case with Dragonball Evolution and Fast and Furious.

CC: Ok. You've said something now that's peaked my interest, regarding you signing onto these films before they've even shot them. Is this a common practice?

Brian Tyler: No. [laughs] I don't think it is. I think it only is if you've worked with the director before.

CC: So you're signing as an investment on whoever is directing and producing the film.

Brian Tyler: Yes. There are different reasons for me to have signed on before they've shot the film. Sometimes it's the source material. Sometimes it's the director and the relationship I have with him. For instance, there are times where I was just a huge fan of the series, like how I grew up reading Children of Dune. I was a big Dune fan, so I signed on before they shot that. Also with Aliens vs. Predator, you take your pick. I'm a huge fan of both series. I grew up watching Rambo and loved it. Same thing for Dragonball. I read all the manga, and was into Dragon Ball Z and Dragon Ball GT. It just keeps going; Fast and Furious is another one. I'm really into cars, love racing, and even get onto the track myself. So for certain things, if it crosses over with what my interests are in life, that can make it a little sweeter. Especially if a film series is coming out and there's something where I'm curious what it's going to be like.  I just want to be the first guy to actually see footage from the film. It can really be as simple as that. I'm just really stoked on getting in there and checking out what it would be like. I wanted to see the return of Rambo before anyone, you know? 

CC: Ok. Now I don't think that you've had to deal with this in any of the films you've done that process with, but what if, for example, you see the film, and you find yourself saying “This is a disaster...and I don't want to score it. I don't want my name attached to it”?

Brian Tyler: Oh, right. [laughs] Then you're kind of screwed. There are times when I've only seen portions of the film and there's nothing you can do about that. You just have to go with your best guess. Sometimes it works and sometimes it doesn't, and there's all sorts of grey areas in between. But no matter what, the thing I will always try to do is to treat the film like it's Citizen Kane while I'm scoring it. You have to get into a mindset that this is the greatest “fill-in-the-blank”-type of movie ever made, and treat it that way. Otherwise you're just going to blow it, and there can't be any phone-ins because your name is on it forever. Also it's just that the scores live on in themselves, and they have their own life. It's the one thing in movies -maybe besides action figures [laughs]- that's purchased on its own forever, and it has its own life apart from the movie and inside the movie. They don't sell, for example, the lighting. Maybe for some movies like Star Wars you can get a costume for Halloween. But basically, because of this long-term factor, I always really try to leave it all on the floor and let it rip, and I don't worry about things like “Oh, geez, am I using up my greatest science-fiction theme I've every written or will write on this little movie.”

CC: Right.

Brian Tyler: And sometimes you never know how people are going to react to a movie. It's really hard to tell. I loved Bubba Ho-tep when I signed on for it ages ago. It was so weird and strange. Honestly, when I was doing it, I really thought that I was the only one that would like it. I thought that people would hate it. But since I loved it, and Don, the director was enthusiastic about it, and Bruce Campbell as well, we just said “We'll just make this for ourselves, and if people take it, great!”. So I wrote something that was really heart-felt to me. And sure enough, people loved it. So it's just one of those things where you have to do your best, give your all, and you never know when something is going to connect with the audience. I've also been shocked, at other times, where I scored something that I thought was going to be fantastic in terms of the film itself, and yet it got absolutely killed.

CC: And that's probably why you stay so busy, because you're giving it your all, regardless.

Brian Tyler: It's possible. I think people that work in the business know that about me.  I think that they hear my music for  for the lesser-known movies or the ones that maybe didn't do well, and end up temping it into their big movie. Then they might say “Wow, he did this for this movie, maybe he could do something for us.” That may have something to do with it, I don't know. [laughs]

CC: I bet it does. Let me move onto the submitted questions here before we run out of time. I'm going to start with one that's actually being asked anonymously. They were actually kidding but once I read it I said “You know, that's a good question, I'll just ask it and see how he responds,” because it's not directly music-related. The question is: “What's up with the vests?”

Brian Tyler: [laughs] Oh, my fascination with vests. Yes. As a kid, I actually liked vests because I always mistakenly thought that they were “super-hero-y” or something. When I was a kid, I always tried to dress up as superheroes. Or Darth Vader, you take your pick. And then, somehow vests came into the picture. But now in my adult life, they have absolutely nothing to do with that, except that I have a couple of vests I like now. I think they might be referring to one or two vests that I've worn in scoring sessions. It's funny, in those videos, which go up on YouTube and get all around, I might do one day of scoring sessions, and I think people might think that that's what I wear everyday. [laughs] But in reality, I pretty much wear a T-shirt.

CC: [laughs] Ok. Yeah, I like to wear vests myself, and I was hoping that your answer was going to be like mine, which, -don't tell anyone, but- is so that I don't have to iron my shirt perfectly. [laughs]

Brian Tyler: Yeah, that definitely helps. When I'm conducting, wearing a vest is pretty easy. But if I wanted a different look and wear a tie as well, the thing is, you probably have to wear a jacket with it, to complete the vibe, but sometimes that can get a little constraining, depending on the day, and it can also get hot, especially if you're conducting. The other thing, I've found, is that the tie flies around a bit.

CC: You get really into it.

Brian Tyler: Yeah, I throw my arms around a lot and so the tie tends to fly up in my face.

CC: Oh, so there's a practical application to keep the tie down.

Brian Tyler: There's two: there's a practical aspect, and perhaps a little latent, childhood-leftover “I-thought-it-was-a-superhero-outfit” thing going on. [laughs]

CC: This next one comes from a gentleman in Spain.  His name is Ator. He asks: “Do you think about the audience' reaction when they're listening to your soundtrack?” And that's his words exactly.

Brian Tyler: That's a good question. Sometimes it does come into play when I'm doing versions of pieces that are specifically for the soundtrack album. For example, sometimes there's a theme that I write for a scene; I write it one way and the scene is 3 minutes long, but then in the movie it ends up being 12 seconds long. So in that case, I think “You know what? I wrote this piece for the movie and I think people would enjoy it. I'm going to put it in because I think people who enjoy soundtracks will like it.” And so in that way, I'm directly thinking of a film-score audience. But invariably, there's all sorts of factors that go into the writing. 100% of what I write has to serve the film first.  It has to serve the film, enhance it, and make it work right. But, that being said, there's all sorts of things involved. When I'm writing for an orchestra, and I know what players are going to be there, sometimes I want to throw something in the score that's going to give them a hard time. [laughs]  It's just more of a personal thing; we just love giving each other a hard time. I'm usually very good friends with the members of the orchestra I usually use, the Hollywood Studio Symphony, we've been doing so many films. So I'll usually throw something in there that'll make them sweat. It happens to the percussion section in almost every movie just because all of them happen to play percussion and it's kind of a fun thing to do. Or sometimes the cello lines or solo violin lines are really wild, so sometimes that's it. And sometimes, I just think, “Wow, this suite here could maybe be really enjoyable for fans of film music like 'Star Wars' or “North By Northwest.” and I slip into that mode sometimes. So, I'm thinking of all these things, but the top of the pecking order has to be the film itself.

CC: Ok, I have another question that's tied into that. It's from Kevin C. in New York: “You seem to put a lot of care and effort into the presentation of your soundtrack albums. Do you find it a challenge to decide what to include on the and what to omit? Are there any soundtrack albums you wish you could revisit, and make changes to, that you didn't think of when you cut them together initially?”

Brian Tyler: Oh, absolutely. First of all, I agonize over -every- second of the soundtrack. The reason I do is because almost always, I'm writing scores that are longer in length than a CD can hold. Somehow I find myself doing movies that are just longer than 78 minutes of score, which is kind of unusual. Most movies have much less than 78 minutes of score, but virtually 100% of the scores that I've done are longer than that, but I don't know why. It just happens to be that way. Maybe it's a stylistic thing, but who knows? It just kills me to leave things off [the album], because I am a bit of a completist. Some people take the approach of “I'm just going to make this a smooth album listening.”Occasionally I'll read a review of an album of mine and someone will say, “You know, this thing was 77 minutes, and it really only needed to be 52.” I don't know where they come up with 52, or 52 minutes and 41 seconds.  But as a film-score fan growing up, my favorite cues would always be the obscure, weird cues playing in the hallway or background, that one one hardly notices. It wouldn't be super-cool but if it wasn't on the soundtrack album it just drove me crazy. So I would try to second-guess those things. Eagle Eye was one of those things where the soundtrack was -way- shorter than the actual score. Even at 78 minutes, I recorded a lot more and that was really agonizing. Children of Dune was another example, where there was 3 hours worth of music and I could only do one disc. Invariably, I do look back and sometimes I try to put a suite upfront, and I also have to work with the record label and decide what should go where. I can get a bit indecisive about that. Assuredly, years later I'll often look back at a soundtrack and think, “Wow...what?! Why did I do it like that?! Why did I leave that track off and include this one?!” But I think overall, I've been really happy with it. There's only been maybe 2 times where an over-zealous director or studio executive, or over-zealous producer would intervene and completely change the order of my soundtrack and overrule me for whatever reason. In those cases, to this day, I've been unhappy with the way they were done. I'm not going to say which ones they were. [laughs]

CC: Ok, that's fine. [laughs]

Brian Tyler: But it's kind of just not cool. So that's what I try to do. And another thing is that I'm really hoping to get my past soundtracks out there for whoever wants them. There are some scores that I get asked about all the time, like Panic, which has never been released. So I'm venturing to do that this year and get them all out, kind of as a respectful gesture.

CC: This next one is from Thomas of Anchorage, Alaska. He asks: “What changes did you have to make to your writing style with the months taken away from 'Fast and Furious'? I heard they moved the release up a month. How does a major change like that affect your writing?”

Brian Tyler: It's interesting, before that change happened though, I had written the main theme for Fast and Furious, because Justin was showing me footage all along, and the main theme, which is Letty's Theme permeates throughout the score, and the “Fate Theme” also has a big part in it. I had gotten a head start, and I'm glad I did. It was a bear to write all that action music, and this was probably the most difficult thing to do because it's a complete orchestral score, during the action moments. Let's say it's a big chase scene. If you just sat in the room with the orchestra, those tracks could pretty much play as a completely traditional orchestral score. So, it's almost like writing two scores because you have that element and you also have all the drums, programming, guitars, basses, and all the little trinky-dinky stuff that I get all obsessed with, and also play all those instruments myself. So I'm playing around with them and trying to write for a 90-piece orchestra. It was just crazy. It was like writing two scores that were both 85 minutes long. The strange thing is, if I had 9 months to do the entire score, I think it sound exactly the same. It's just one of those things where you go with first instinct and when you work with a director that you've worked with before, you get on the same page, you have your back-and-forth collaboration, and you do your thing. Inevitably I could've changed things, but it would've been changing them to be different, not necessarily be better. The only thing that I missed during that time that I wish I could've had was just some sleep. It's just not good for you; I definitely put some wear-and-tear on my body during that time, and maybe shaved off a year of my life. It was rough, but I'm happy with the way it came out.

CC: This one is from Michael in Kentucky. He asks: “Hello Brian, my question concerns your use of percussion in your film scores. I've noticed that you use much more organic drums rather than synth, which seems to envelope scores these days. What kind of unique drums do you sometimes choose and why? Example: John Powell chose to use the Bougarabou for the 'Bourne” series because he liked the specific sound they had.”

Brian Tyler: Yes. There's a lot of different percussion (I'm just walking into my room of percussion instruments right now). I don't even know the names of some of them. I've just picked up so many from around the world, but definitely Darbuka, Djembe, Bodhrán, everything from Moroccan drums to Malaysian bells, gongs, shakers, and little metal things...I don't know what they're called but they're cool-looking. I also have Kalimbas and it's there's just so many metal, wood, and different tuned instruments. The first instruments I ever played with were drums. The percussion always sounds better if it's recorded with a microphone. Samples are fun, and I'm not going to bag on other composers on the way they do things. That's their sound and there are a group of composers who will generally never use live percussion, and won't even record live percussion when they're recording with live orchestras, which is fine because they've found a way to do it with samples. But to me, it's different. I actually write with percussion sometimes. Some of my action music is derived from things I can do with my hands on different drums, and the cello and bass-lines maybe come from that. So there's all these things like whole human element, getting away from the computer, sound waves traveling through the air and hitting the microphone; the messiness of it all. That's another thing I love about it, all the percussion from around the world; when you play it, there's so many different rough edges to it. You can hit the side of the drum, the center, and all these different parts of it. I think that if you use synthesizers or samples for it you polish off the rough edges; you polish off all the mistakes, the little human errors that make it human, and that's what's soulful percussion can be. There's a difference between a really laid-back, cool Steve Gadd groove on the drums versus the coldness of Kraftwerk. I love both, but they serve different purposes, and for film music, if I can play all of these things myself, it takes longer to do, but I think you get more of a sound that resonates as “human.”

CC:  Let me come back to Kevin C of New York, He askes: “After Jerry Goldsmith passed away, did his death change or shape your perspective as a film composer as well as your feelings towards your replacement score for 'Timeline'?”

Brian Tyler: Yes. It did. Jerry was obviously one of the all-time greats, and someone that I looked up to, and that's the understatement of the century. There's been this interesting connection that we've had since Timeline. He obviously scored Aliens, and Rambo, or Star Trek.  But it is something that affected me greatly. I knew that he wasn't doing very well, and I was really concerned about that. I remembered when he passed away, we were kind of expecting it, but it was still a shock. I almost didn't believe it. I was at the funeral, the memorial service, and I kind of didn't “get it.”, It just seemed unreal to me like “How in the world? It's Jerry, he's always around, he's going to do another 17 films next year.” He just always kept busy. The thing that was so strange with Timeline was that I was really looking forward to him scoring Timeline before I had any association with it. I was even one of the guys that signed a petition online to bring Jerry back once he was dropped from doing the score for Timeline. So it was not without irony that I actually ended up being the guy that was chosen to replace him. And that was daunting, to say the least. It was almost like a no-win situation, in which here I am, replacing my idol, and people are going to hate me for it. And I just tried to do my best to make it a tribute score to Jerry more than anything else. Some people got that and some people didn't, but I did my best, and I'm not Jerry. [laughs] But I'm trying really hard to keep that tradition going, and a lot of what I've fashioned myself as a composer after was Jerry; his use of percussion, traditional orchestra in different ways, and the way of trying to keep the human element alive in music, which was such a passion of his. It's something that I really believe in. but certainly it's a huge loss that he's gone. I'm glad that we still have his music and I listen to it all the time.

CC: I know that in my review of your music for Rambo, one of the things that stood out to me was that it obviously honored his original theme, which I'll love until the day I die. It honored the spirit of Goldsmith without just being Goldsmith regurgitated on us, so I really appreciated that.

Brian Tyler: Oh, good!

CC: And I know that couldn't have been an easy thing, to bring in who -you- are, yet keep it connected to Jerry Goldsmith. That just can't be an easy thing.

Brian Tyler: Oh, it is something that's really tough. Especially since I just -loved- those scores, they're great.

CC: This one's from Thomas in Anchorage, AK. He asks “I was curious how or what Brian does when he hits a wall or rejection, like when he wants to score a film and doesn't get the job, or runs into a problem with the director or studio approving a piece of music?”

Brian Tyler:  There's all sorts of reasons that things get rejected. Actually, being as objective as I can, very often it's stupidity to the -core-. [laughs] And it's not just because it's me. I hear about things from other composers too, and they're just absolutely asinine. Twilight. I hadn't heard that, but you know, stories like that are abound.

I've had things where I was scoring films at a fairly young age, and I would have a 64-year old executive tell a 25-year old composer, “That's not what the kids like, let's make this for the young audience.” Here he is talking to the -exact- demographic that's going to go see the movie, and it's just insane. And sometimes you get “Don't use this note” or “I don't ever want to hear violins or oboe.” It's a little tough because it's like “Dude, I've been writing music since before I can remember,” and you hone your craft even before most people know what job they're going to be doing. Even a doctor won't start studying that until college, but we've been composers and musicians since we started it at 5. And so by the time you hear someone that has a very cursory knowledge of what music even is, chiming in and saying things that are ridiculous. One of the things that I've heard was, being familiar with rhythms, “There should be 12th notes instead of 16th notes,” and stuff like that, things that don't exist in the musical language. And for those things you just have to grin and bear at them, but I'll stick up for my music.

CC: So how do you respond or "stick up for your music?"

Brian Tyler:  If someone says that they don't like something, I won't say “Hmm, you know, you're right,” do the soft-self, “Oh, it's just not there yet, ok, i'll do that.” I don't do that because of the very fact that if I'm presenting it to them, it's already gone through the most intense, rigorous self-hating analyzation by the worst critic I could ever have, which is -me-. I throw out -tons- of things before I'd ever dare play it for a director or producer, and I only present things that I feel confident about. If I'm not confident about it I just won't play that theme. I'll skip it until the next time. So, I will give the reason why I think it works, and in the end it is opinion, and I can deal with that. It's something you have to have a really thick skin about, and you put it away for a rainy day and say “Ok, I'll just move on and do it again” if it comes down to locking horns and not being able to get past it. But I think that's part of the reason why you try to develop a collaborative relationship with the people you work with, and I've been real lucky in that 95% of the time that's what it is. I've only had a handful of times where an executive will come from there office where they've been doing accounting and figuring out the fiscal structures of release patterns to chiming in about how the oboe harmonizes with the viola. It does happen, but it's pretty rare. And most of the time, it's going to be matters of opinion between you and the director, and hopefully that's how it should be. It's their film, and that's why the studio hired them to do the film, direct it and bring their vision. So I always say “director-first”, and I'll bring what I bring to the table. I find it interesting though, that despite all the intrusions from studio executives throughout the years, trying to put their stamp on it and push composers around, that pretty much no matter the film you're listening to you can still identify who is who. The fact is that the influence of studio executives, no matter how many notes they give you, you're still going to sound like you, because you're you and all their talk really boils down to equaling zero in the end. We can always recognize John Williams, and when you hear Thomas Newman score you know it's him, and James Horner, you name it. So the composer brings what he's going to bring, and you have to know as a composer, “Look, they hired me for me. That's cool, and it's still going to be me in the end. Regardless of how much they tinker with it, it's still going to be me.” And their power to alter things is -so- minuscule in the end, that you as a composer can't just find yourself composing from a position or perspective of fear, which I think has happened to some people, unfortunately. I find that I would rather go all-out on a limb and do something one a scene that's immediately recognizable, or something that you'd really notice, something that changes your feelings about a scene, than kind of hide in the background and do music that doesn't really say anything, just because it's hard to criticize music that's not doing anything. I think that ends up being almost like a drug addiction.  If you don't do anything, it'll be hard to criticize and you can move on, but then you lose the reason why music is there in the first place.

CC: I've got one last question and it's from me. Now, my favorite score of yours has become Partition. That's just my favorite. I love that score, so, I'm always waiting for the next Partition to come along.

Brian Tyler: [laughs] Strangely enough, that's Lazarus Project. About once or twice a year, there are a few films that I try to take, which are bigger risks. They don't even have distribution. They're independent films or the like, that can really do something off the beaten path, and do something that has an original voice, where I can experiment. Partition is one of those. Certainly Lazarus Project, this year is one as well.  Even The Killing Room, which is a completely different take on scores for me, was kind of set as a complete classical work. It's just strings and a choir, but it's done in a way that's very cold. It's much more like modern, contemporary classical music set in a series of movements, and that'll be later this year. Now, another one that's going to be completely different from the action vibe is this movie, Middle Men, which I'm scoring right now. That's with Giovanni Ribisi, James Caan, Luke Wilson, Robert Forster and Kevin Pollak. It's like an ensemble piece, like a Scorsese film. It's set against a true story of the guy that invented private billing for credit cards online, but it turned into the most insane journey, almost like a Pablo Escobar kind of thing, but it's about a normal guy who got sucked into this underworld of crime and mobs, and all sorts of things. It's really quite moving. It's alternately funny, horrifying, violent and epic. So, that's going to be very different in terms of the vibe of what I've been doing in the last few movies, and that's more of a movie with stars and things like that, but it's not an action film.

CC: Well, I look forward to and will be reviewing Fast and Furious and Dragonball Evolution in the very near future, and I'm enjoying what I hear there already, but I look forward to hearing what you have coming up in the rest of the year as well. Hopefully you'll get a break in there somewhere.

Brian Tyler: Yeah, I'd love that. [laughs]

CC: Well Brian, thanks again so much for your time. It's been great talking to you tonight.

*Special thanks to Caitlin Owens of ID Public Relations. 
Interview transcribed by Vince Chang and edited by Christopher Coleman