BRIAN TYLER
in conversation
Interview by Clark Douglas
Clark Douglas: Joining us today on "The Sounds and Sights of Cinema" is film composer Brian Tyler. Brian has scored a diverse group of films over the course of his career. Among the films he has scored are such titles as "Frailty", "The Greatest Game Ever Played", "Panic", "Timeline", and "Bubba Ho-Tep". His latest score is for "Partition"... Brian, thanks for joining us today
Brian Tyler: Aw, thanks for having me.
CD: First of all, "Partition" is a movie that a lot of our listeners may not have heard much about yet... can you tell us a little bit about the film?
BT: Uh, well, "Partition" is a film that takes place in the 40's, it's all about the breaking up of Pakistan and India, and it's a really violent time in India and Pakistan's history, where basically the Muslims went to Pakistan and the Hindus went to India, and it was this kind of breaking up of the country, which is almost like a civil war. There was a lot of violence, terrible time of violence, and this is kind of a love story that gets superimposed over this time frame, between a Muslim girl and a Hindu soldier. So, it's got kind of a Romeo and Juliet quality to it, based on a true story, and it's just very powerful. For me, it was a film that was more than just a film to me, it was kind of personal really, kind of a journey.
CD: Do you know when and where audiences will have a chance to see it?
BT: Well, um, yes, it's being rolled out through the year around the world. Actually, right now, Canada had the jump on us, it's all ready playing in Canada, and later on it's coming to the States, in the fall. Then, I'm not sure about Europe and elsewhere, but they're rolling it out one by one.
CD: Your score for "Partition" is very thematic, there's a lot of memorable and harmonious musical ideas in there... I was wondering if you could kind of break down all the main themes in your score for us, and tell us what they represent.
BT: Right. There are kind of themes... the themes that I did are not for the characters directly, it wasn't that kind of leitmotif type of feel, it was really more scoring what mood and emotion was trying to be conveyed in each scene, so the scenes go by that. For instance, there's the main theme, I guess you'd call it, that starts off the soundtrack, the "Partition" theme, and to me, it was supposed to reflect the notion of "love conquers all", the part of the story where the people... the odds were against them, and they were going to be together even though they were enemies, and it conveyed that side of it. There's a sub-theme that comes up that's a little darker and a little more epic, it's in the main title, but it's "The Crossing", which I think is the second track on the soundtrack.
CD: Yeah.
BT: This is the theme that's really for the actual partition, or separation, of the country. It has a broader scope. These themes working against each other, you've got the intimate, which is more uplifting and melancholy, and the very wide, epic, historical aspect. In terms of themes, I'm not sure if it's a harmonically or melodically thematic angle, but there is the aspect of eastern and western music being in the film, which is something the director wanted very much to show that two different kinds of music also could meet on a broader philosophical angle, I suppose, he wanted it to be all-inclusive. So there is music in there that kind of deals with the microtonal music of India, music our ears aren't used to in the west, but those things are just interspersed, it doesn't have to do with the themes, it has to do with the flavor of the themes and how they're played.
CD: And that was something I was going to ask you about, the blend of the eastern and western elements in the score. How did you go about trying to find the balance between the two for particular scenes?
BT: Yeah, good question. Vic Sarin, the director, he's from India, and he intimately knows the music of India, and he's also very familiar with the music of Pakistan. When we first sat down to look at the movie, the funny thing is, I tended to want to put in more of the Indian music, and he was pushing the western thematic thing. So we were both pushing against our backgrounds, and it just came about in a mysterious way, I have no idea. He was looking at scenes, and at times it just seemed right to have a stripped-down feel for the production, and sometimes you watched the scene and it seemed right to bring in the orchestra and have that dominate it. But the thing I wanted to do when it was Indian or Pakistani versus western music, sometimes I would do music that had that Indian lines with that microtonal feel, but I would always try to bring in the main theme, even on Indian instruments. So there was a tie there, in essence, I didn't want to have two scores in the same movie, there was a little flavor in all cues from both sides. But when you're telling a story musically in a movie, you have to stick with what anchors you, which is the melodic theme.
CD: You tend to be a very hands-on composer with your scores... of course, any composer is hands-on with their own score, but you play a lot of different roles. Composing, conducting, and doing some of the instruments as well. Did you perform many instruments in this score?
BT: Yeah, I'm literally hands-on. (laughs) I performed more instruments than I can remember, I was learning instruments on this movie, there was such a wide array of things. I do play kind of a lot of instruments, because I looooove learning to play new instruments, but this was getting into a whole different territory, sitar and things like that. Lots of percussion, Indian percussion, Pakistani stringed instruments, all these things, it was crazy. My studio at the time, there were so many instruments, it looked like India. It was crazy, like a music store from the middle of New Delhi (laughter). We had stuff shipped in, and it wasn't always easy to get stuff from India. We had drums that got stopped at customs, it was bizarre, but I tried to bring some of that flavor, I didn't want to use samples for those Indian instruments. It wouldn't sound right, especially for a period piece, and the only way to match a live orchestra with Indian instruments is to have them be live. So I kind of forced myself to learn a lot of instruments. But yes, you're right, I ended up conducting here in L.A., the orchestra for the movie.
CD: What about orchestrations... because I know when someone is credited with doing orchestrations, that can mean anything from just a little bit to a vast amount of work... how involved are you with orchestrating?
BT: Well, not to take anything away from what orchestrators do, it's an important part of what I do, but it's also something that I do myself, so when I do pieces, I like to write... since I conduct the music, I need to know everything that's going to be on the page before I get up to conduct it. So I need to write every flute line and clarinet line and the duduk parts and the cello and the violins and the harps and everything has to be written out by me... it would be easier if it wasn't that way, but for me, I just don't want any surprises when I get to the stage and conduct the score, because time is such an issue, especially on this movie, we had to be very efficient. Percussion, I didn't have any percussion in the orchestra the day I conducted, I played all the percussion ahead of time here in my studio. Pretty much any thing I would play and record that also would be something an orchestra would play... to save money, I would play it ahead of time. So there is a lot of things that typically would be orchestrated... timpani, cymbals, marimba, all the percussion section, I played piano as well, and of course all the guitars. Orchestration, yeah, I'm also going so fast, the orchestrators are great at catching me if I'm doing something in a wrong clef or if I'm just whizzing along and do something that sounds like it came out of a crazy person's mind, they'll say, "did you mean to do that?", and I'll say "no, no, I didn't," so that helps.
CD: It's not surprising that you played so many instruments, because looking inside the credits for the score, I was surprised by how small the orchestra was in comparison to how many instruments there were and how big certain sections sounded... you got a lot of mileage out of that orchestra.
BT: (laughs) You're right, the size wasn't huge, but we wanted the sound to be huge for certain parts, sometimes very intimate, but at times it basically needed to reflect the splitting of two countries, you can't be real small with that. So, you know, I get in there and I'm involved with mixing, too, making sure it sounds like I want it to. A lot of the size does come from helping out the orchestra with that percussion and the kind of atmosphere that you get from playing ten instruments and recording them in your studio and blending them in... it's a little bit of a magic trick, but on something like this, it really helps.
CD: Now, the last time we had you here was around the time "Annapolis" was released, so about a year ago... since then, one of your scores from a few years ago was released by La-La Land records, "The Big Empty".
BT: Oh yeah!
CD: Could you tell us a little bit about that one?
BT: Ah, "The Big Empty" is a really strange and fun movie. For me, it's not every day I get to do comedy, for whatever reason I've gotten into this mode of doing dramatic films. So, doing this quirky comedy was a chance for me to break loose and do some really off-the-wall ideas that I'd been running in my head, and it was a fun break from the sort of really serious music that I'm typically doing. (laughs) Doing a lot of bizarre things, guitars, all sorts of strange instruments in that one that were just played for fun, piano and what not...
CD: Did you perform most of or all of that score yourself?
BT: Yeah, I think so, I think we had a tiny bit of orchestra. It's really interspersed, kind of as an atmospheric sort of thing that I think we just did one session for. But other than, I played... it was a while ago, but I think I played everything except the woodwinds.
CD: Any idea of how many instruments you know how to play at this point?
BT: Aw, I'm standing in my studio, I'm looking around the room, maybe that will remind me. There's almost categories and subcategories of instruments... is a balalaika different from a bouzouki, yeah, it's different, they're both strings, or a mandolin, or... well, if you count the different sub-categories of instruments, I have no idea, it's gotta be... it's enough that I don't really know off the top of my head.
CD: How long does it typically take you to learn to play an instrument? I mean, for me, it took me forever just to learn to play the piano.
BT: Yeah, well, you hit the nail on the head. The piano is something that requires that separation of right and left hand, and it's something... once you get the piano, you can quickly pick up other instruments. I picked sideways instruments like guitars and dulcimers and thing like that later, after I learned the piano, so, I just had to think "piano on the side, but going backwards", and all this, and you just kind of visualize where all the notes are. Once you figure out where to press the keys or strings or whatever, it sticks. So it doesn't take me long now, because I'm not starting from scratch, but if I weren't starting from scratch, I'd take just as long as anybody, but now I can pick up a stringed instrument or something and learn it in a couple days.
CD: Sure, it's just a variation on something you've all ready learned.
BT: Yeah, you just have to remember the tuning and the technique of how to play it.
CD: Now, I wanted to ask you one question about the arrangement of your score albums. On a lot of them... I'm not sure if this is the case with all of them, but a good chunk of them feature the tracks in a different order than they were heard in the film.
BT: Sure.
CD: What goes into trying to make your score albums an ideal listening experience?
BT: You know, that's something that always comes up when we're going to do a score album, sometimes I'd prefer them to be in order... not always my choice. But sometimes, I do agree with the order, I like it to dramatically reflect the order of the film in some way, but often, there's a kind of suite at the beginning of the CD... a kind of thematic suite that I will write for the film. And if there's no main title, which, sometimes there are no main titles in movies right now... unfortunately... they're all stuck at the end... I'll do a main title as if there was a main title, so at least I can introduce the themes properly, because I believe in the overture structure of symphonic writing, where you have an introduction of themes at the beginning. Especially with orchestral music, it's a necessary part of a listening experience, to introduce themes at the beginning, and then go through and do your variations. I think that comes from the classical and concert world, but I think that's something that often helps the listening experience. But after that happens, I kind of like to take you through the story... if I have a choice about it... chronologically. Here's another thing that comes up, some people say "this album is too long," or too short, or whatever... I do like to try and pretty much include what's in the film. Because I know when I go to get a score, a lot of times I'm frustrated, the cue that someone thought was incidental and left off was my favorite. Sometimes you read stuff, and you can see this on the internet with film score reviews, they'll say, "the CD didn't need to be that long," or something, and it's like, "yeah, but... well, no." (laughter)
CD: Well, I think it's better to have too much than too little, because if you want, you can always go through and make your own version of the album.
BT: Right! Yeah, it's the same cost to put it on there, and I don't know what piece is going to grab someone when they watch the film, and... so, I kind of do from the perspective of someone that... for me, all my life, as a film score fan, when I get something I want to make sure it's there. The thing that really bothers me more than anything is when they don't include much score and feature a bunch of songs that weren't even in the movie.
CD: Yeah.
BT: And then that takes up all the space, and it's just a promotional tool that has nothing to do with the movie. That's always disappointing, when you go to buy the soundtrack to your favorite movie and it's a bunch of songs that have nothing to do with it.
CD: Sure, because so many people go to buy a soundtrack in the first place to remember a movie they liked!
BT: (laughs) I'm not sure how cross-promoting some hip-hop band or something is going to help you re-live your experience in the cinema. So, you know, there's definitely some... I have some perspectives on how that's done, and I've had a lot of conversations with a lot of executives around town, and what's great, on occasion I've had the chance to make it work. Like the "Fast and the Furious", the other two "Fast and Furious" movies, they didn't release score albums, and you get a lot of the songs that weren't in the movie. So I had to stand up for it, and said, "Hey, if you want to do a song album, that's great, let's do that, but let's get a score album out there, too!" I was pleasantly surprised that they said yes, and we got it out there.
CD: That was a pleasant surprise... when I went to pick that up, I was quite amazed... not just getting past the promotions and releasing a score album, but actually getting much score into the movie. I was thinking, "Wow, there's actually an HOUR or more of score in a Fast and Furious movie!"
BT: It was unusual... when I signed on to the movie at first, the executives had been through the first two, and said, "you know, there's not going to be more than 12-15 minutes of score," just from their experience. I had all ready done "Annapolis" with Justin Lin, the director, and here we are about to do this movie, and I knew how much of a score guy he is, and how he wanted things to be dramatic and not just one unrelated song after another. So, I had a feeling, I said, "you know what, mark my words, there will be more score than you think." And sure enough, the majority of the music in the movie was score. It was cool, I'm glad Justin pushes for doing it that way.
CD: One thing I know your fans are happy about, including myself, is that a lot of your scores in recent years have gotten album releases. But are there any other scores you've written that haven't gotten releases that you'd like to see released at some point?
BT: Absolutely, um, looking back at what has and hasn't come out, and as for the soundtracks that haven't... like "Panic" for instance, I get asked about that all the time, "when is that coming out?" Um, in fact, that will be coming out this year.
CD: Really?
BT: Yeah, quite late (laughs), but every day, I still get e-mails about it, and it's one of my favorites, and I would love to see a release, so I've been talking to a label about releasing that. There's a few others as well, I don't know if it would ever be possible, the "Star Trek" scores I've done, I get a lot of requests for those, as well. "Four Dogs Playing Poker" and "Plan B", it would be interesting to have them out there. And I think it's now possible, more possible than it was, even if it was something like an iTunes release for the really obscure ones, it will still be nice to have them available. I get questions about ones that haven't been released in the states, like "Thought Crimes" and things, but as for "Panic", we're going to do a proper release of that.
CD: It wasn't too long ago, maybe just a decade or so, that it was very difficult for anyone to get a score release out over thirty minutes long.
BT: Yes.
CD: Now it seems like we're at a point where score albums are really generous with the amount of music they offer, a lot of older stuff is getting released... have things changed significantly as far legal issues that allow that sort of thing to happen?
BT: Yeah, in fact, that just happened! I think I might have had the first soundtrack released under that agreement, I think "Annapolis" was the first to go out that way. What it does, is it allows up to a certain amount of units sold, the albums that come out without the mandatory re-use fees that get paid back to the musicians, and it was happening a little too early, the record industry is changing. What it was doing was making any soundtrack with over thirty minutes of music impossible to release, because it was too expensive to put out, almost any soundtrack you'd put out, you'd lose money.
CD: Sure.
BT: At that point, it doesn't make sense for anyone... the musicians, the composers, the record labels... so everyone got together, re- evaluated what the real world situation was, and that's why we're now able to release albums that are proper length. It's unfortunate that some of my early soundtracks like "The Hunted", which were much longer scores, fell into the 30-35 minute category... every five minutes, you got a penalty, so you were trying to edit things to be 34:59.99 seconds, which was kind of nuts. (laughs)
CD: Is there any chance of an expanded release of scores that were short-changed early on?
BT: Yeah, there's been a lot of talks about that, especially ones that were really limited, there's a couple we're looking at doing that to, "The Hunted" is one of them. But for years, this was happening, there were great Jerry Goldsmith scores that were only thirty minutes! I used to think that someone had it out for us as film score collectors, until I got on the other side of the fence, and I was like, "Oh, my God!" It was one of those crazy things, but fortunately, we're in a different era now, and things have changed, and we can hear what we want to hear.
CD: Yeah, it's definitely a good time for film fans to be film score fans.
BT: I agree, absolutely.
CD: Now, you mentioned "The Hunted", which you scored for William Friedkin, and the last time you were with us, you talked about another film you scored for him, "Bug", which I don't think has gotten released yet. What is the status of that film?
BT: Good question! "Bug", I know is this year, it's gonna be this year, it moved. I'm not sure why it moved it's time slot, and I'm not sure when exactly it's going to be, but it will be this year. Since then, it went to the Cannes film festival, and William Friedkin did pick up the best director award, which was nice to see. But still waiting on that to come out, and we've been in talks about the soundtrack all along, which is going to get released. It will be strange, very strange indeed. (laughter)
CD: I remember you saying at the time that it was some of the most dissonant, experimental, atonal stuff you've written so far.
BT: Yeah, it's got to be right up there at the top of the strangest music I've ever written. Friedkin is a great instigator, he'll really push you in directions you wouldn't think you'd normally go. You never know what's going to happen when you're working with him, "The Hunted" was the same way for me, I kind of veered out of my comfort zone, for sure.
CD: Well, I'm definitely looking forward to getting to see that film, I remember it getting really great buzz at the film festival.
BT: Yeah, yeah! It's a really powerful movie, you can't shake that movie for days. I'm looking forward to that coming out, it's going to be a crazy 2007 because there's all these movies... a couple movies I scored before this year, and a bunch that are coming out, I think there's... six or so coming out.
CD: That was something I was going to ask you about, because I looked your name up on the ever-reliable Internet Movie Database...
BT: Ah, yes (laughter).
CD: But yeah, wow, you've got a lot of things colliding all at once here.
BT: Yeah, I'm pretty tired right now, it's relentless. There's a bunch of films that I'm scoring right now, and I love them all. It just happens that there's all these things I really wanted to do. For example... it's called "Time to Kill" on IMDb, but it's really called "Bangkok Dangerous". It's a remake of "Bangkok Dangerous" by the original director. It's starring Nicolas Cage, set in Thailand, and it's a thriller, it's amazing. Very interesting locale, and the story is very cool, if you've seen the original, it's fantastic, and this one sort of ups the ante. Then there's "Rogue", which I see now... I just went on IMDb when you mentioned it to see what's on there, and there's one called "War", which I've never heard of. But then, I realized, I knew that as "Rogue" up to about one minute ago, I think I might have just been informed that the title of the movie changed from "Rogue" to "War". (laughter) See, there were two "Rogue" movies out there, this is the one with Jason Statham and Jet Li, and it's all about the Triads versus the Yakuza, and really cool stuff about Interpol, CIA, FBI, it's a global espionage film. I'm not sure if IMDb is right or not, but it's either called "Rogue" or "War".
CD: I'll be sure to keep an eye out for one or the other.
BT: Yeah, I'm going to London in a few weeks to conduct that score, I'm doing it with the London Symphony Orchestra, there will be a soundtrack release for that one for sure, it's pretty wild. Then we have "Finishing the Game", which I don't even... oh, there it is, let's see, fifth on the IMDb, which is a mockumentary kind of like "Spinal Tap" or something about the making of Bruce Lee's last film. It's all... I recorded over an hour of all-70's music.
CD: Oh, cool!
BT: So it's all kind of funk, and the rule was, we couldn't use any pieces of equipment that was newer than 1978, so everything's really lo-fi and fun, I played all the instruments, it was one of those kind of movie. But that's what Justin Lin directed, he did "Annapolis" and "Fast and Furious", so this is my third film with him in like a year. Of course, there's the next "Alien vs. Predator" movie, and I'll be recording that soon, here in Los Angeles. And it's obvious, anyone who knows me knows I'm a massive sci-fi fan, so venturing into the Aliens and Predator world, there's no words to describe how cool that is for me.
CD: There's been a lot of composers involved with those franchises... Elliot Goldenthal, Jerry Goldsmith, Alan Silvestri, James Horner, others.
BT: Yep.
CD: Is your score going to follow any of those directions, or...?
BT: What I would like to try and do with this one is to really go back to what I think worked in the original "Alien"... "Alien", "Aliens"... well, Goldenthal's is a great score, too, they're all great scores, Frizzell's, I love them all, but we're really trying to echo the early ones, as well as Alan's score for "Predator". So we are going to be delving into those areas, the sonic template for it will be very orchestral and very natural. It's not going to be keyboard-y or overproduced, not the hyperproduced sort of thing. A lot of people do that very well, Hans is great at that very slick sound, but we're going go the other way on that, go for a very primal sound. It reflect the primal nature of both aliens and predators, if you go back and watch the originals, they're very primal. The original "Alien", some of that stuff, it's so organic, so exciting. There's a bit of military stuff going on, and there's some of that in "Aliens", it had a little bit of a military sound. But, you know, it's a bit like going to my childhood, being able to experience that again. The directors are great, the movie's coming along great, so really looking forward to that.
CD: Sounds like you've got a lot of really cool assignments this year, and...
BT: Oh, there's one more! I guess I can go ahead and announce it here, it's not on the internet yet. We're going in and looking at doing it, working out the details now, but I'm doing the final installment of the "Rambo" films!
CD: Oh, really!
BT: Yeah, which Stallone is directing, and it's going to be incredible. I've read the script, and kind of like he did with "Rocky", he's bringing it home, to the feeling of the original. There's some other big shoes to fill, because of course Jerry Goldsmith did those. You know, there's always this kind of tie with Jerry and myself somehow... "Star Trek", the "Timeline" thing, the "Alien" thing, now "Rambo", it's like he's everywhere I go, he's been there. (laughs) So it's like my idol has laid the groundwork yet again for me to try and do my best, something that can honor that tradition. They're shooting that in Thailand right now.
CD: Do you know yet, are you going to come up with entirely original material, or use some of his stuff as well?
BT: I don't know yet. I know that we definitely want to echo the feel of the "First Blood" score, the first one. It was so soulful, the theme... I don't think it will be as regional as the second score, where it kind of... it had some stuff echoing the Vietnam war. I think we're going to have stuff sticking with John Rambo, with him, rather than the music telling you, "you're in Burma"... the movie is in Thailand and Burma. It's really... I mean, I just read the script, and really, again, I grew up with that as well, I'm a big fan, and I think people will really be pleasantly surprised, or their wish will come true with the movie. With this series, as with "Rocky", I really loved what he did with "Rocky Balboa"... I remember thinking at first, "another one?" But it completely worked and hit home, it was honest, and this is as well. Anyway, this is later in the year, my last assignment for this year.
CD: That's something I'm looking forward to, because I was one of the many people who was so skeptical about "Rocky Balboa" when he announced that, and it came out so well...
BT: Yeah, he really knows what he's doing. I'm glad, because "Rocky V" left me hanging out in a lurch a bit, as a fan, I was thinking, "that wasn't really a proper ending, was it?" And then, after all this time, he was doing the film to say... well, obviously, he owns enough not to work another day in his life, he has PLENTY of money. There's no... he was doing that, and he's doing this, because he wants to bring it to a close that fans will be happy about. He wants to give it the respect he feels it should have, and close it in a way he can be proud of. Yeah, I loved it, when they fired up that Bill Conti fight music, ooooohhhhhh.
CD: I know what you mean. (laughter) Well Brian, I'd love to keep chatting with you about all of this, but I don't want to take up too much of your time, and we're almost about out of time here, but while you're with us, I did want to ask you... the Academy Awards are nearly here, and I wanted to get the perspective of a film composer on film music right now. As a composer, knowing more than the average person about what goes into scoring a film... what do you feel were some of the best films scores of 2006, aside from, of course, "Annapolis" and "Fast and the Furious"?
BT: (laughs) Aha, I can't count any of those. (laughs) For me, I kind of... it's funny, I find myself looking at a lot of the scores that I come out from composers I'm following, and new composers are introduced to me from seeing films. I really enjoyed a lot of the films this year... "United 93", hearing John Powell do that score. Yet again, I'm always enjoying his work, and hearing that score was very powerful, very interesting production-wise. Any time Newton- Howard does something, I'm always there to take a listen, I really liked "Lady in the Water" quite a lot... um, the score for it. And um, for me, John Williams can do no wrong, so we won't go into that. I hadn't heard any scores from Javier Navarette when I went to go see "Pan's Labyrinth", that was great. Hearing what Gustavo does in "Babel", it's one of those things that's so different in the movie as opposed to listening to it on the soundtrack, it's one of those things that works great in the film itself. Gosh, there's so many. I always like James Horner, "Eragon" from Patrick Doyle, "Apocalypto" was really interesting, "The Fountain" from Clint Mansell was great, Danny's score for "Charlotte's Web", anything Tom Newman does, "Casino Royale", I always enjoy David Arnold's work. I pretty much... I know I'm leaving out half of my favorite scores that aren't coming to me, but I'm always kind of blown away by stuff other composers are doing. I actually really liked... he sometimes gets some flack, but Philip Glass' score for "The Illusionist" would have been the one to nominate, even over "Notes on a Scandal".
CD: Oh yeah, I agree with you, excellent score.
BT: Yeah, listening to it, I didn't know who wrote it at first, and I was thinking "This has a Philip Glass feel, but there's something more to it, it's a little warmer, not as cold." It really worked well, and I enjoyed the movie, too. "Night at the Museum" was fun to hear Alan doing Alan, going to his glory days of doing "fun music", he's a master of fun music. But yeah, a lot of great stuff this year.
CD: Well Brian, you've got a lot of really promising stuff coming up yourself this year, and I know myself and many others are really looking to hearing that as the year continues. I want to thank you so much for taking to time to join us today, I've really enjoyed it.
BT: Oh, same here.
CD: I'd love to have you on again sometime.
BT: Well, I'll be back.
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