00:00PEGI 18
00:37FILLIP SHEPARD, I'M A COMPOSER, CELLIST, PRODUCER, PRODUCER, AND TODAY WE'RE AT ABBY ROAD STUDIO ONE, WHICH IS MY FAVORITE
00:43STUDIO IN THE WORLD, AND TODAY WE'RE RECORDING THE SOUNDTRACK FOR CARA.
00:58SO WHEN I COMPOSE A BIG PROJECT, I OFTEN TRAVEL JUST TO KIND OF GET OUT, YOU KNOW, AND GET
01:03SOME FRESH OUT AND SOME INSPIRATION.
01:05I HAD A LOG FIRE IN THE ROOM THAT I WAS STAYING IN, AND THE FLAMES WERE KIND OF MAKING
01:11ABSOLUTELY DIRECT MUSIC, AND IT BECAME THE BASIS FOR CARA'S THEME, AND IT SOUNDS SOMETHING LIKE THIS.
01:26Now, over the top of that, I found a little theme that just seemed to fit over the top, which
01:32is taking CARA's name, CARA, CARA, and just using like a two-syllable motif, and it sounds like this.
01:49We're going to pull through this, Alice. As long as we're together, nothing can hurt us.
02:05And all the time that's fitting over.
02:12So it kind of works in lots of levels, and in fact, every single theme in the score has one
02:18of those elements built into it, and it becomes sort of the DNA of every single tune.
02:29They're over there!
02:32Starting a new project for me, personally, it's always finding the right tone, finding the right color, I like to
02:38call it.
02:38For me, it's finding that right texture that actually sits against picture really well.
02:42One of the biggest things is I created custom instruments for Connor.
02:51I pulled out all my vintage synthesizers to be able to capture this robotic person, if you will.
02:58As soon as you see Connor the first time, there is a really interesting thematic idea that you hear, and
03:05that's just made out of a Moog synthesizer, but completely manipulated in multiple ways.
03:10And it's robotic. It has a little bit of an emotional to it. He's on his mission, so you feel
03:16that as well.
03:16So it just kind of gives you that cold, motionless, with a mission in hand that you kind of feel
03:24throughout the whole thing.
03:27Some people are asking, have androids become a threat to our security?
03:32When I first started really digging in on Marcus, the one thing that I really tried to capture was the
03:39transformation process.
03:40You know, Marcus is this android that evolves over the course of the game and really goes from kind of
03:47figuring out that he's more than just an android.
03:49You know, he's starting to develop kind of a human soul in a way.
03:53The other side of Marcus that I really latched onto was that he almost became a savior for a lot
03:59of the other androids in the game.
04:00So when I started developing the theme for Marcus, I really made it like a church hymn.
04:10I wanted it to be very simple. I wanted to make it a chordal melody. I really wanted to make
04:15it almost like a Bach hymn.
04:18The tough thing with that is it had to be recognizable.
04:20If I made it too complex from a harmonic standpoint, it would be hard, I think, for people to kind
04:25of pick it out and recognize it.
04:35I got to be honest, when we first started on this path, I said, man, this could be pretty messy.
04:40You know, I mean, it could feel disconnected.
04:42But I mean, it's amazing how they really guided us and got us to really kind of all be in
04:46the same world, but at the same time feeling completely different.
04:50So it's really going to stand out and kind of be one of those games where people are really going
04:54to notice the music and kind of how it was crafted.
04:56And, you know, and all the hard work that went into making, being able to pull it off in a
05:01graceful way.
05:20For the players.
05:22For the players.
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