Devil’s Music - Chapter 79: The Best Movie Music

As expected, Corigliano allowed Geon to accompany him.

Though he didn’t impose a condition to choose a minor, as Sharon suggested, Geon gladly accepted, whether dreaming of a future with composition or aiming to aid Geon’s growth was unclear. Smiling, Corigliano accepted willingly.

At the ‘John F. Kennedy International Airport,’ after a long flight from ‘Frankfurt am Main International Airport’ in Germany, Corigliano and Geon, in a taxi, observed Germany’s unique architecture outside the taxi window, as Sharon mentioned.

After Geon had been gazing out the window for a while, he asked, “But Professor, there’s something I don’t quite understand.”

Corigliano, also looking out the window, turned his head to answer, “Yes, tell me, Kay.”

Geon briefly searched on his smartphone and then showed the screen as he asked, “I understand that director Tim Burton is famous for reusing actors he has previously worked with. Does the same apply to the music director as well?”

Corigliano nodded, “That’s right, his most famous actor was Johnny Depp.”

Geon nodded too and pointed to a part of the smartphone screen, “Here it says Tim Burton worked on almost all movies’ music with his initial music director, Danny Elfman, from ‘Pee-wee’s Big Adventure.’ But why did they choose Hans Zimmer for this movie?”

Stroking his stubbled chin, Corigliano replied, “Well, there are two reasons, Kay. Firstly, this movie remasters his previous work without additional filming but restores it using HD technology. The only change possible is in the music and sound effects, so choosing the same director wouldn’t show much difference from the previous film.”

Seeing Geon’s understanding, Corigliano continued, “The second reason is the issue between Danny Elfman and Tim Burton. Rumors suggest consecutive box office failures like ‘Dark Shadows’ and ‘Frankenweenie’ created a rift between them.”

As Geon nodded in comprehension and looked at his smartphone, he asked, “So, Professor, what makes great movie music?”

With a smile, Corigliano looked intently at Geon and said, “What O.S.T. stands out in your memory?”

After a moment of thought, Geon replied, “I mostly recall Disney’s music. ‘A Whole New World’ from Aladdin or ‘Beauty and the Beast’ from Beauty and the Beast come to mind first.”

With a gesture, Corigliano said, “Can you sing it?”

Geon nodded, and Corigliano chuckled, “Then who’s the best music director you know?”

Geon answered without hesitation, “Of course, it’s Hans Zimmer, whom we’re meeting now.”

With a quizzical eyebrow, Corigliano asked, “Can you sing something from his work?”

Geon hesitated, appearing lost in thought, then shook his head, “I can’t recall. Why can’t I remember the music created by the best music director?”

Corigliano burst into laughter, clapping, “Haha, right? That’s what makes the best music, Kay.”

As Geon looked puzzled, Corigliano pointed with a finger, “The best movie music isn’t remembered as ‘the music of the movie’ but ‘the scene where the music played in the background.’ It’s what every filmmaker desires.”

As Geon contemplated this, Corigliano added, “Being unable to hum a tune from Hans Zimmer, referred to as the best music director, is a crucial point, Kay. But the scenes from the movies he scored are probably ingrained in your memory. Especially those beautiful scenes accompanied by his music.”

Geon slowly nodded, “Professor, you’re right. It makes sense. I’ve come to understand why Hans Zimmer is considered the best music director. But earlier, you mentioned that the film we’re working on is a remaster of a Tim Burton movie. What movie is it?”

Corigliano raised two fingers to make a ‘V’ sign, “It’s ‘Edward Scissorhands,’ Kay.”

Geon exclaimed in surprise, “Edward Scissorhands? The movie with Johnny Depp and Winona Ryder?”

Looking slightly surprised, Corigliano asked, “You know it too? It’s a movie from a long time ago.”

Geon nodded confidently, “Yes, it was re-released in 2014! My younger sister begged me to watch it together. I was deeply moved. Wow, they’re remastering it again?”

With a smile, Corigliano nodded, “Yes, it was released in 1991. The 2014 release wasn’t a remaster but a digitalization of the film stock. The film’s official title was ‘Edward Scissorhands,’ but it got simplified as ‘Scissorhands’ as it spread overseas.”

Geon, excitedly, couldn’t hide his enthusiasm, “So, I might get to witness the creation of the music for that famous movie?”

Corigliano, picking up a small bag beside him, remarked, “Whether you’ll just observe or participate, we’ll find out during the process. Well, it looks like we’ve arrived. Let’s get off.”

Looking out the window, Geon saw an imposing, large mansion. They stepped out of the taxi, picked up their bags, and stood before the grand German-style mansion, pressing the doorbell.

*”Beep~”*

Is there anything else I can help you with?

After a while, the sound of the CCTV turning on above the doorbell was heard, and without a word, the door opened. Pushing through the black iron door, a wide grassy field resembling a soccer field spread out. The mansion, a three-story building, exuded an ancient castle-like vibe with its distinct German ‘Romanesque style.’ From a distance, it gave off the vibe of the Bamberg Cathedral.

Walking along the path through the grassy field, Hans Zimmer, standing in front of the house, became visible. Hans approached Corigliano with a welcoming smile, extending his hand. Corigliano, setting down his carrier, embraced Hans and spoke.

“Hans! How long has it been, haha.”

Hans, locking eyes with Corigliano while embracing, replied, “Indeed, Professor. Feels like over ten years.”

Corigliano chuckled while glancing around the house. “Living in such a grand mansion, you’ve truly succeeded, haven’t you?”

Hans chuckled heartily and gestured towards the door. “Haha, indeed I have. Come on in.”

As Corigliano lifted his carrier, he met eyes with someone named Gun and introduced him. “Oh, this is Gun, a student from Juilliard. He’ll be helping us with our work this time.”

Hans extended his hand to Gun with a smiling face. “Nice to meet you. I’m Hans Zimmer.”

Gun courteously straightened up and shook hands. “It’s an honor, Director. I’m Gun from Juilliard.”

Hans, noticing Gun’s curious gaze, chuckled. “Seems more like an actor than a student, quite a handsome lad, isn’t he?”

As Gun, now more at ease, smirked, Hans burst into a big laugh. “Haha, seems like a common compliment. Well then, let’s go inside.”

Upon entering the door, Gun looked around and noticed the high, spacious ceiling and the marble-floored interior. It took about three minutes to move to the parlor within the grand mansion, which was unusually quiet. Hans, noticing Gun marveling at the surroundings, grinned proudly and spoke.

“Here we are. Say hello to the team now that everyone’s here.”

Wide-eyed, Gun asked, “Wait? Director Tim Burton is also here?”

Hans nodded, smiling. “Of course, for this film where music changes are the focus, the director naturally needs to be present.”

As Gun nervously adjusted his attire, a disheveled man emerged from inside. “Oh, Professor Corigliano, nice to meet you. I’m Tim Burton.”

Corigliano smiled, extending his hand, but Tim Burton hesitated and awkwardly chuckled, retracting his hand into his pocket. Witnessing this, Hans softly said, “He’s a bit quirky, understand him. He’s not much into handshakes.”

Corigliano nodded understandingly, and Hans ushered them into the parlor. There was a fireplace on the wall of the parlor, with dry logs crackling away inside. The long sofa surrounded a central table, and Tim Burton had already settled in comfortably.

Tim Burton gestured, saying, “Please, have a seat. It’s not my house, though, haha.”

Hans chuckled, taking a seat. “Sure, make yourself at home. Matilda!”

Upon Hans’ call, a German lady in her fifties approached. “Matilda, could you bring us some coffee?”

Matilda nodded and disappeared into the kitchen. Corigliano asked, “Oh, you have staff here?”

Hans smiled nonchalantly. “Three of them. One gardener and two ladies who handle cleaning and cooking.”

Impressed, Corigliano whistled, and Hans, with a smile, turned to Tim Burton. “Tim, now that the team’s assembled, any thoughts as the director on the direction of our work?”

Tim Burton, watching the logs burn in the fireplace, waved his hand. “Do as you wish. I’m here to confirm the final outcome.”

Hans, anticipating that response, raised some documents on the table. “That’s what I expected. Well, Professor, as you know, the film we’re working on is ‘Scissors Hands,’ released in 1991. Except for the sound effects, we need a total of eight pieces of music. Should we divide and work on four each?”

Corigliano, scanning through the documents handed by Hans, nodded in agreement. “Hmm, that sounds reasonable. You should take the lead on the main theme, and I’ll probably focus on the mid-section of the movie.”

Tim Burton interjected, “Why not try all eight on your own? Just pick the best ones.”

Hans shrugged, and Corigliano suggested, “Do we really need to create unnecessary competition? Dividing the work might be faster, don’t you think?”

With a bored expression, Tim Burton said, “It’s not fun, is it? This way, it’s both enjoyable and increases the chance of finding good music.”

After glancing around at the trio seated on his left, Tim Burton spoke up, “You’re Kei, right? Why don’t you give it a try too?”

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