There are 90 minutes of score in the film, and parts of it are comprised of a 100-piece orchestra and choir, and then some other moments just have a few guitars. The approach was, as it always is for me, “musically represent to the best of my ability what this movie is about.” This movie is about many different things. It’s about baseball. It’s about a guy who is old school – he doesn’t understand why people are traded, or why they turn free agent. He comes from that sort of mind-set; he is essentially old fashioned. The music needs to represent baseball, which is over 100 years old – a uniquely American thing. The guy is modern (if a bit old), and he is living in the 1990s even though his taste is a little retro. So I decided I didn’t want to keep the whole score orchestral – and threw in a little guitar work. Not necessarily “rock and roll”, but more of a cross between folk and pop with a serious hard edge to it. There is a sequence in the film where I used guitars and Daiko Japanese ceremonial drums to represent an edge: to show that he can be a mean son-of-a-bitch. That seemed appropriate, and Sam Raimi agreed.
The other thing that is strong in the film is the romance – it’s a love story! It’s a great blend of hard sports and a very sensitive love story. It’s very Aristotelian in its dramatic structure because it all takes place in twenty-four hours. It was great because I got to work in at least three musical styles. The most important thing is that the music represents the ideas behind the film. In this one, there were several ideas, so there were several representations of music. What unifies them all, of course, is the thematic material. You can play the theme on guitar, or solo piano, or with a whole orchestra.