00:00www.sonymusicpublishing.com
00:30I did a demo for the game, actually, and I believe it was a number of composers who had submitted
00:34demos for Ueda-san to listen to, and I guess I had done something right, because I was chosen to
00:41be the composer for the game.
00:44The reason why I chose Air Studio is for its acoustics. It's known for a very lush and gorgeous sound,
00:51and for the London Symphony, I mean, it's one of the best orchestras in the world.
00:56Good morning, everyone. Thank you for being here.
00:58I would definitely say the high point was stepping in front of the orchestra and having that first note played.
01:06It doesn't get better than that.
01:45I think we had about 92 players, and that really brings the organic magic into the score that you cannot
01:53get out of a digital instrument.
01:56It has been challenging in the sense that the game Ueda-san has made is so unique and very delicate.
02:04It has a lot of heart.
02:04When I first started thinking and conceptualizing the score, the main thing was to try to isolate and minimize the
02:13amount of elements that are going to go into the score.
02:16For me, the compositional process for The Last Guardian, I think, was more like sculpting, trying to find the essence
02:23of the score and carving away or taking away.
02:25It's actually a subtractive process.
02:30The game is very, very unique and magical. I've been laboring over the score to try to make sure it
02:37doesn't pale in comparison to the wonderful visuals, so I hope you enjoy the music as much as I did
02:42composing it.
03:05I hope you enjoyed it.
03:07Grazie a tutti
Commenti