![]() That way, you can control them completely. Garry Schyman: Usually, they're overdubs that are recorded separately. This is a nerdy question, but when you go to those kinds of instruments, do you record the orchestra first and then find soloists to work with separately? Some viola d'amore that was used, and some other sort of primitive instruments all sort of made this soup, this complex, interesting mixture of things that created the score. Synthesizers were part of it, and some unique instruments. ![]() It was great to have the choir, and of course, orchestra. We had a choir, of course, that was more just to give it that big epic fantasy vibe. Mine, too, because you were great." She was very easy to work with, got it very quickly. She loved it too she said, at the end of the day, "This was one of my favorite recording sessions ever." I said, "Well, fantastic. I gave her parts to sing, but also, she improvised, and she was wonderful to work with. We recorded with her for a good part of a day, just her solo over some of the cues that already had been recorded with live orchestra. Bear McCreary and I found India Carney, and she was wonderful. Garry Schyman: Yeah, the main character Frey definitely was an inspiration. Did that decision come from wanting to mirror the main character of the game? There is a great use of female vocals in the score. In this game I had a really nice opportunity to write tonal, beautiful, sensitive, emotional, music. If I had to delineate the type of music in a lot of video games that I've written, they can be dark, and scary, and eerie, and suspenseful, but beautiful is not always the opportunity you get. There were some nice opportunities to write some beautiful music for this game, which is always wonderful. You'll hear some of the cues, and they're very tonal. I immediately got that, but I wanted to keep something unique about it, so I made it "edgy tonal". I had produced some very intense combat, and they wanted it more tonal, and more fantasy. Garry Schyman: They wanted it to be more tonal. What was that first road that you went down, and how did you land on the tone you ended up finding for Forspoken? It's always that first cue, the first thematic thing you do, that really is the test of, "How quickly am I going to get this?" The challenge is getting it - finding the unique thing that score needs to underscore this particular project, whether it's a film, or TV show, or a game. I focused in on some of their concerns, and I said, "Okay, I think I get it," I wrote the second version of that, and they really were happy with it. It was a good cue, but it was the wrong approach. The first one I wrote for them was not the right approach. I remember writing the first cue I wrote for them it was a combat cue. Was there a sense of pressure going into Forspoken, then, because Square Enix is such a huge company and it's a high-profile project? It was kind of a project that could go either way it could have been a small success or, as it turned out to be, a huge success. It wasn't like I was doing God of War or some project that has all these high expectations. It was kind of intimidating, although I did not anticipate BioShock being a huge success. Some projects are less inspiring than others, and some are super inspiring almost a huge challenge, and a little scary. I've used sound design for the right cue, it's perfect, but if the project has at least some opportunity to write real music, that's huge. There's a lot of sound design, and it's amazing, some of it's so effective, but that's not what I'm particularly interested in. That's what I grew up loving - writing traditional music. often involve writing music where there melodies, and there's harmony, and there's traditional composition. I'm happy to do them sometimes, especially if I'm not busy with something else, but when something special comes up like a BioShock, Dante's Inferno, Shadow of Mordor, Forspoken, these are really amazing opportunities creatively. I've done routine projects, and they're far less interesting. It can truly make it from a routine project to something really special. ![]() Garry Schyman: What interests me creatively, obviously, is the project itself. Screen Rant: When you're thinking of taking on a project, what is generally the thing that attracts you? The story, the world, the tone, or something else?
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