One of the many things that really impressed me about director Shawn Levy's Real Steel was the soundtrack. Unlike some movies where the songs feel out of place and you've never heard of the artists, Levy assembled a great mix of music from Timbaland, Crystal Method, Danny Elfman, Eminem, Tom Morello, Limp Bizkit, Beastie Boys, 50 Cent, Foo Fighters and Alexi Murdoch.So when I sat down with Levy at the press day, he told me how he put together the soundtrack and tells a great story about his first meeting with Timbaland. In addition, he talked about his goal for Real Steel, whether or not he got notes from the studio about Hugh Jackman playing an asshole for the majority of the film, and revealed that Real Steel was the most creative control he's ever had on any movie. Hit the jump to watch.Finally, if you missed Levy talking about Neighborhood Watch, what happened to his Flash movie, the status of The Hardy Men and Night at the Museum 3, as well as the status of Fantastic Voyage and Frankenstein, hit the links.Here's some quotes from Shawn Levy talking about how he put together the Real Steel soundtrack:âWhen you make a movie you always start off with your wish list of who you would like in the movie, you never end up with them. Ever. Itâs like, âWell I canât get you Timbaland, but I can get you Cutie Pie,â or some fucking emerging artist that like has a bad name, and theyâre telling you is gonna be huge but never ends up being huge. On this movie, we invited these artists to the editing room, and I showed them much the same stuff that I showed you and we started getting yesâs, and we ended up with a soundtrack that is like a musical wet dream for me.ââThereâs an amazing singer/songwriter who wroteâhopefully heâs on your site and he knows what Iâm talking aboutâhe wrote a magnificent song for this kind of lonely man montage 2/3âs of the way through the movie. Gorgeous song, I went to the recording studio, we laid it down, itâs a great song. I put it in the movie and I thought, âThe lyrics are telling me what Iâm seeing,â and if the lyrics are telling you what you can already get with your eyes, itâs too much, and we pulled the song. I called the dude and I was like, âBrother I remain a huge fan, but I canât use your song. Please put it on an album or use it for a future movie of mine.âââI called up Crystal Method, Iâm like, âCome to my editing room,â I showed them the fight scenes and theyâre like, âOh yeah we got this, we got this,â and then they were like âCan we see more?â and so I showed them some of the more underdog kind of rousing emotional scenes, and they were like âWhy are we fucking getting emotional at a fucking robot movie?ââ¦But anyway they wrote two different songs, one is the introduction to Noisy Boy who is our kind of Japanese Bot, thatâs a song called âBring the Noiseâ that is greatâ¦and then, this was fascinating, they wrote a piece of music for Round 1 of Zeus vs. Atom, which is the climactic fight, and it worked pretty well, as a track it worked great. But we mix it on the movie, and Iâm like âShit, all of Crystal Methodâs sounds are in exactly the same pitch as the robot sound effects,â so the result was you couldnât hear it. So then what happened is Crystal Method basically did a kind of collaboration with Danny Elfman, who wrote an overlay on top of the Crystal Method track, so whatâs in the movie is this weird unexpected Danny Elfman/Crystal Method duet that works exceptionally well.ââI said a year and a half ago, âIt would be a dream if that main hip-hop song could be Timbalandâ and everyone told me, âYouâll never get to him, heâs doing his own thing, heâs down in Florida, he doesnât have a phone,â all these rumors I heard. We finally got someoneâs blessing to take a clip of the movie to his studio, and it was some weird meeting time like âWe shall met at 1am in your unmarked, unadressed recording studio in Miamiâ or something. We wait, he watches the clip, he goes, âBe at my house at 10am tomorrow I wanna watch the whole movie with my kid.â So the next morning at 10am we bring the whole movie to his house. This was three months ago, and you have to understand for nine months people have been telling me, âGive up on the Timbaland thing. Youâre not gonna get a Timbaland original,â but he said come back, we showed him the whole movie with his kid, he called me up and goes, âIâm doing this song. Iâm doin the song the kid dances to with the robot, Iâm doin the end credits song, Iâm doin whatever else you need me to do.â He was so enthused having seen the movie. I think he watched it likeâhe liked it, he saw that his kid liked it, so he wrote this brand new song which is a tough get and pretty thrilling.ââWhat ends up happening is, you always sign off on a music budget for a movie and itâs X, and youâre kind of like âEh, thatâs not gonna be enough,â but itâs this game that you kind of have to playâIâm now revealing the game so Iâm kind of ruining my chances on future moviesâyou always know that if the movie works, and if you have a good test screening and good preview, and the studio sees a certain song that you canât afford in the movie, 7 out of 10 times they will pay for that song, and theyâll go into whatâs called breakage to give you that song. So yeah the budget grew a little bit and we had a lot of flexibility with the artists.â