Well it wasnt actually really invented when I started, and basically I got a lucky break.
So I helped him out on one of the Bond sequences, one of the early ones.
So that was my inspiration, that and Maurice Binder, and I just went off from there?
Was it anything in particular from Saul Bass?
All of it really,North by Northwest, all of the classic ones he did for Hitchcock.
An amazing body of work, so I thought that is the way to go.
So I went through that side door really, which didnt really exist in this country.
Was that a blessing or a curse?
Well in creativity youre always looking for a lucky break and I just saw that as a lucky break.
Youre open about the fact that you dont play by a set of rules.
Presumably you see things more as an open canvas?
Yes, I mean you dont really know.
And that is the excitement, and still is today.
And has that been by personal choice or by the demand of people after your work?
I think its a combination of two things.
Its not about your ego, its not about you trying to enforce something.
And I think listening is a key part of this.
A glimpse down your filmography shows a staggering list of directors that you.
I suppose each director is playing by a fairly different set of rules themselves?
You say you were lucky to work with up and coming directors.
Are there any that you are particularly fond of your collaborations with?
Because Ive noticed that lots of them seem to ask you back.
Do you find that being British means you have to push and sell yourself that bit more?
Certainly, again, in the early years?
Yes, I kind of operate as the Americans do.
I dont know too many British title artists who have had that kind of success?
Oh yes, that is good.
But even on this recent job ofSweeney Toddwith Tim [Burton], I consider that a lucky break.
Its a lucky break, he could have found anyone.
How did that come about?
I realised that the Art Director was somebody that I had known called Anton Furst.
That could have been how it came up.
So whats the background with Anton Furst?
I just knew him, because hes an Art Director.
And, obviously Gotham City set was still up, I just wandered round the set.
On the set of the film that virtually everyone was waiting to see at that moment?
Yes, so I went on the set.
That was the idea.. And even then it takes quite a long time before you realise that that isnt going to happen.
So that was the idea, I sketched it out in about six frames.
And that was it really.
You say forBatmanthat you went in to that for a pitch meeting.
Is that usually the case?
Yes, I never take any finished product.
Its the idea; you have to get the idea across.
But presumably, you say it was a pitch meeting, you didnt really have the idea per se.
What you tend to do is that if it is a director you dont know.
I might have read the script but its still not telling me what the director is like.
Presumably you cut out the first third of getting to know them and get straight down to the idea?
I then bring the idea.
I normally find one idea is the right one, and I just go with that idea.
But thats what I tried to do, I tried to make a seamless join between the two things.
And are you a great fan of the digital age?
I think its marvellous.
I rely on younger people to work on that part of the project.
Ive got ask you about working with David Lean…That wasPassage to Indiawasnt it?
He was a very tall man, I didnt realise how tall he was.
So I went up there we had a very quick meeting.
Do you get awestruck?
I was with him.
He was quite a big presence.
No, youve just got to listen, its that listening thing again.
Its like going in front of a headmaster.
If you come up with it, its fair game.
Presumably you meet that with an air of self confidence yourself?
But when I was younger I was terrified.
Moving on to Terry Gilliam, how did the mechanics work with him.
Was it particularly different from Tim Burton?
Its just a different character, thats the only you’re free to describe it really.
Theyre just completely different characters.
Do you have to take on board their past work, or do you just rid yourself of it?
I just go with what is in front of me.
And like Tim, Terry Gilliam asked you to work with him again recently…
WellTideland?
Did that idea come from you or Paul (Anderson)?
It was both of us.
And how did you get permission from the studio?
We leave that to the producers.
Enemy of the Gatesseemed to be a different mechanic again.
Also, you were very distinctly mixing in footage from the film itself, re-creating it in a way?
Jean-Jacques Annaud Ive collaborated with on five or six films.
I told him it would be quite complicated, but we tried it and it didnt work.
And again it never seems you that you say no to any ideas.
No, because again it is listening.
Sometimes its half an idea.
Yes, but things dont work for lots of different reasons.
Can we do that together?.
That is fun as well, its great.
Again its all part of the listening, and him having confidence.
Does it depress you in any way?
That something like the title sequence is dissected by the audience?
No, thats the way it is.
You never know where it is coming from; it could be the studio, it could be anybody.
Well if they did, I didnt hear anything about them they might have done.
They may have, someone in LA or New York said that Spielberg saw it and liked it.
That must be great to hear!
Yes that was great.
He did actually say that he liked the title sequence, so that was really good.
Tim obviously showed him it in its rough stages or whatever.
Hell be on the phone offering youIndiana Jonesnext!
Yes, thatd be quite good.
Maybe I should write in for that!
Have you given up pitching for jobs?
No, there are still things I pitch for but its in a different part of the business.
Its more commercial key in stuff, agencies always want you to pitch.
So what do you do: do you fight it or just roll with it?
Because withSweeney Toddyou stood out for it.
Ironically, if Spielberg had done it, he would have just cut the whole thing out.
I think these things go in fashionable waves, I think thats what happens.
I think its fashion, style probably, but when the lights go down the dream begins.
Is that a particular ethos with which you approach your work?
Yes, I think you should have that little gap that takes you in.
Well, definitelySweeney Todd, definitelyBatman,Quadropheniafor lots of different reasons.
Definitely working with people like Jean-Jacques has been an amazing experience.
I dont have many major favourites really.
Richard Morrison, thank you very much!
Richard Morrison exclusively directs out of London-based mixed media and animation studioth1ng.
