![]() ![]() Maybe people have become more attuned to themes, and in doing so, we’ve had to evolve into a more subliminal world. If it’s too busy or sweeping, it will take the audience out of the movie / show which we don’t want. There are still opportunities to write themes, but these days it’s more motivic, more about minimal patterns and signatures that get underneath the picture in a subliminal way. ‘Theme ‘ has really changed in recent years. What are your thoughts on “the death of the theme” in film music? I’m really looking forward to doing a project of that caliber in the near future and am really excited about the possibilities. True Detective, Ray Donovan, House of Cards… so many amazing things happening on TV. Television has been exploding with rich content these past few years, and I’m tremendously excited about that. Now I’m finding that working on the projects I really want to work on is what is resonating for me. The industry has also shifted and there are honestly less films and a lot more competition for them out there, with much lower budgets. Getting CSI:NY back in 2004, moving to my home studio and having kids sort of changed that hyper-networking path. and was working on many different things simultaneously. The first 10 years of my career, I was the director of music at Soundelux DMG and was constantly meeting new directors, developers, producers, etc. I only started thinking about that recently actually. When you finish a project, do you ever worry about when the next one will come along? (as a side note: It was actually that score that was temped into Captain America: Super Soldier that helped bring me onboard that project a few years later). When I had the opportunity to score the sequel to Return to Castle Wolfenstein in 2008, we had more than twice the minutes available to record and even bigger levels and thematic opportunities. I really don’t remember anything challenging on those projects, just lots and lots of fun. for one of the levels we recorded and sampled these huge spring drums to create ghostly metallic rhythms with. ![]() It was a blast finding unusual musical sounds to match the tone of the game. For anyone who played it, they would remember the intro cinematic really set the tone for the game, and it gave me an opportunity to write a suite of themes that I would use in the remaining score. The score looped throughout the entire game – it was budgeted for about 30 minutes of score total including the intro and in-game cinematics. ![]() Return to Castle Wolfenstein was a really great project to work on for a lot of reasons. How did you develop the music throughout the series, and what were the most difficult challenges you came across when scoring the games? You scored the music for the Wolfenstein games. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |