![]() ![]() ![]() We want the audience to feel emotions, so you’re always telling a story through a character’s eyes with music. Whatever the story’s really calling for usually dictates what the music is going to do, and so we’re very conscious of the narrative and just making sure that we’re showing the perspective of the character. It’s like, ‘How do you fill that much space?’ So you really have to pick and choose moments where music is really impactful and focus on those, and try to stretch it as much as possible. You have two hours, the music is going to be no more than two hours, but a game experience can be 30 hours long. Haab: First and foremost, it’s just the vast amount of scenarios that call for music in a game, because these games are very long, and a film is not necessarily the longest form. ![]() Q: When it comes to composing for a game, are there different approaches or timetables compared to TV or film? I do have a protective umbrella over you, as well. It’s all on them, so I’m in a win/win situation. Laviers: The other thing is, I don’t actually have to carry the can for any of the stuff that I do. The nice thing about working with them is I can nick at all their ideas.īarton: Well, I certainly steal Gordy’s ideas. Nick Laviers: These two chaps have made me a better composer, I’ll say. Q: Do you have to be a composer to be a music director? ![]() Together they talked about the process of creating music for an expansive video game set in the Star Wars universe. At this past weekend’s San Diego Comic-Con 2023, I had the wonderful opportunity to participate in a roundtable interview with the composers of the acclaimed musical score for the recently released smash-hit video game Star Wars: Jedi – Survivor, Stephen Barton and Gordy Haab, along with the game’s music director Nick Laviers. ![]()
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