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Donnerstag, 18. Oktober 2012

Scoring A Gametrailer

This is the dream of every young film score composer out there: A friend from EA sends an email, a job interview and a night's rest later you have the job. You get a rough cut, temp tracks and a previous trailer score to inspire you. They give you everything you need. And then it's your turn.

I already had the session prepared the previous day, so I was able to dive right into it. I had been listening to the scores of Mass Effect and started playing the series. Immediately I was blown away by the characters, atmosphere and story. Finishing the first one and a half minute on the first day, I thought it went pretty well. Not half a week later I hated everything I had written and started over from scratch on a completely new version based on the same time-map. I hated that one too, so a third version was made.

I felt so bad for the editor, because music-wise it was a complete turn around and I had no idea how far ahead he was with the material. But throughout everything, this guy gave me amazing support.

The third draft was strange. I started working on it on Monday morning and I finished on Tuesday evening. In my head I always counted the hours... 10+4+10+7 = 31 hours with small breaks in between. It felt like a weekend in Disney Land. All the drugs in the world can't compare to the feeling of writing music, when you're in a drive. No sleep, no food except bananas (because they were the only food left in my house at the time) and lots and lots of coffee.

The editor liked the draft, but nonetheless I'm hanging by a thread. The music still has to pass a bunch of managers and executives at EA before it's done and even then, there are a million things that can go wrong in between.

I've got my fingers crossed.

S.M


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