The screenplay had been written according to musical principals. There’s an audio illusion, if you will, in music called a “ Shepard tone ” and with my composer David Julyan on “The Prestige” we explored that and based a lot of the score around that. And it’s an illusion where there’s a continuing ascension of tone. It’s a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the script according to that principle. I interwove the three timelines in such a way that there’s a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals.
But again, lest Americans get too high on their horses about this, the US military-industrial complex, its marketing partners and Hollywood filmmakers have basically been doing higher-budget versions of the same thing for decades. One of the more obvious examples is the NFL, where flashy flyovers with high-tech military jets, troops marching with flags and even camouflage jersey sales have been a fixture for years, and the military has pumped tens of millions of dollars into patriotic displays at sports games. Others include the close relationship between the military and the video game industry , or its tight collaboration with the movie industry .