The metallic percussion is remixed and speeded up for the intro of the menu before other music starts
Docu What is Bullet-time?
The intro of The Hotel Ambush (the congo percussion) is used over and over again.
|-Dvd Menu Disc 2: Tetsujin|
|A list of his music used in menu's, during documentaries and such things and off course appereance of the composer himself.
|-The Dance of the master Yuen Wo Ping Blocking Tapes: Bow Wisk Orchestra|
|On The Matrix region 1 dvd there are two more impressive extra's:
-the isolated score by Don Davis
-audio commentary by Don Davis
(for a transcript of the audio commentary click here)
|Don Davis talking on Revisited (more photos go to Dondavisphotos)|
|The following tracks can be heard during the dvd part with him:
-Anything is Possible
-Welcome to the Real World
-Road to Truthville
|On most of the Animatrix episodes Davis comments on his work. For full details check the Animatrix page|
|Ultimate Matrix Dvd Box (from The Matrix Revolutions revisited)|
|''It made perfect sense to me to infuse some kind of individual personalities to Reloaded and Revolutions. But within the idea of looking at the first Matrix, so that Reloaded and Revolutions will be adding to the first Matrix experience, rather than going of in somekind of weird tension that had nothing to do with it. It's wasn't a matter of improving on what I did in The Matrix, it was a matter of developing the ideas that we're established in the first movie. Even though it's not what you can call fanatic score, there is a fanatic continuinity. There was a Neo/Trinity love theme that just barely made a statement in the first Matrix and made a fairly strong statement in Reloaded, and then Revolutions it kind of went to town.''
''We wanted to feel it was the same movie, at least musically that it was a continuion of these ideas. So the way I approached them was kind of like the second and the third movement of the Three Movement Symphony. A symphony basic plain terms is a really long orchestral piece and they are normally broken up into movements. I think I was able to give Reloaded and Revolutions an unique personality to the music. But in terms of style and it is really a matter of style, I think I was able to keep some contuinity going.''
|On the Matrix '' theme''
''It's more of a gesture than a theme that really got me through quite a few moments in Reloaded.There's the gesture with the brass, you know seeing the trumpet section just plating a triade and they start soft and get really loud and at the same time the horns are plating different triade and start loud and het soft. And this worked very well symbolically between this musical concept and the adreline structure of Reloaded' of the Matrix story.''
''I thought Osiris was a brilliant piece of filmmaking It had the same effect on me it had on the audience in drawing the audience back into the Matrix world. It was a chance ot reach into that well again and apply it to this short picture before I jumped into Reloaded. Actually that was a big help to me. The other animes weren't stylistically in the same arena as the Matrix, so each of those kind of had to be approached as an individual identity. Detective Story, about this hard world detective, I kind of approached it like a 1950's film, while the thing had more of a jazz feel that had nothing to do (laughs) with the Matrix. But Final Flight definitely got the juices flying. It was just the ticket for Reloaded.''
|The Matrix Revolutions
''I think the most striking thing is the use of the choir, which was really a lot of fun. The way they came about is that Larry and Andy wanted initially told me they wanted a major choir statement in what they called the Super Burly Brawl, which was the final caloclisnic confrontation between Neo and Smith. And I thought that was really an excellent idea, but I knew we needed a text for the choir to sing or else it wouldn't really function properly. So I asked them if they could find something in the public domain that reflected the idealogy of the theme they were referring to in all three pictures. I suggested that it preferably would not be in English and even better would be in a dead language like Latin. So my feeling was that if the choir was singing in English, you know and saying: This-is-the-one-watch-what-he-does. It would really be anti-tethical to everything that they came up with so I think it as Larry who came up with the idea of using passages from the Upanisads, which are the ancient scriptures that the Hindu religion is based on. And he wanted to do it in the original Sanskrit. And when I saw the passage they had chosen I was estounished on how well integrated these ancient writings were to the entire idealogy Larry and Andy had come up with for the whole thing; these were referencing the One. I thought that it raised the level of the integration between the music action exponentionally.''
|Reading a part of the passage in front of his choir
'' From delusion lead me to truth, From darkness lead me to light , From death lead me to immortality.'' (begins to shiver)
|''I think that the epic nature of the film was reflected in the music and the conclusion of this mythology made a very satisfying end to it I was particularly pleased by this epic nature and I thought that the choir and the orchestra in the Super Burly Brawl was really kind of a wonderful n moment for me.'' (shakes his head with pure confidence)|
|Transcript of Davis his part on Revisited:
''I saw how important the idea of reflection was to the Wachowski's. Almost every scene has some aspects of a reflective subtext. When Trinity encounters Agent Smith she sees him in the rearview mirror of her motorcycle. When Laurence Fishburne is on screen in his dark glasses you see Neo reflected in them.The scene with the spoon always has somebody's face in it. I was able to take that ball and come with it and use reflection in the orchestra. One section against the other or just a contrapunctal idea placing one on top of the others, representing the reflection we see on screen. That was really the key to it for me. We all pretty much agreed that an organic orchestra and choral approach was best for the music. And than we'd enchance that with additional synthesizer and sampler elements. And then whenever sequences had the protagonist we'd emphasize the orchestra. When the machines were taking over, we'd emphasize the synthesizers. It was seamless going from the underscore to songs due to the sensitivity of the directors and music supervisor Jason Bentley.''