00:00PEGI 18
00:30BAPTA LA members
00:31And to top it all off
00:33Legendary video game composer Jason Graves
00:35Is a BAFTA winner
00:37We're gonna catch up with him in just a bit
00:39But first, a little trip to Raleigh, North Carolina
00:41Where we go behind the scenes at Jason's recording studio
00:45These are the final hours of Tomb Raider
01:03The first thing we did was the theme
01:06There have been many composers in the games or the films
01:09But they've always used the original theme
01:13They said, we want to start with a clean slate
01:15New theme
01:17I did it on piano, very simple
01:19I was really scared just to send it
01:21Because I'm like, I don't know, I think this really works
01:23I think I like it
01:24We ended up taking that exact theme
01:26The first demo I sent was on the first trailer
01:29That exact same arrangement
01:36So, Jason, currently you're working on this reimagining of Tomb Raider
01:40When you're taking on a new project
01:42What are the things that attract you to that project?
01:44The heritage of a particular game, I think obviously
01:47And don't even get me started on Tomb Raider
01:48I literally almost drove off the road
01:50I was on the phone with the audio director
01:52Like, oh stoplight! And I had to pull over a little bit
01:54To not hit the car behind me
01:55What I loved about Tomb Raider, what really drew me to the project
01:58Was they had no pre-existing conditions
02:01Because they wanted to get out of what it used to be
02:04They wanted something new, they wanted something fresh
02:07Jason's done hundreds of games by this point
02:09It was an easy choice for us to go with on paper
02:13Because he had such great experience
02:15I listened through a lot of different material from a lot of different composers
02:19I was really taken by how well he did the intimate stuff
02:23The textures and the real intimate and vulnerable bits that we needed to highlight in the game
02:28Were a great match for us
02:29What is square one for you when you start wrapping your head around and going
02:32This is where I feel like this world is going to exist
02:34Main theme, call me old fashioned
02:35Then it was a matter of finding out what kind of percussion would work
02:40And always going back to the melody and the theme
02:43Because that's kind of the heart of the game
02:45The most signature thing that we need to get right is Lara's theme
02:49One of our big goals was that it can be used in any emotional context
02:54What does it sound like?
02:55High action
03:01What does it sound like when she's in pain?
03:06For music, the gameplay and the concept art
03:09Especially with the scavengers and kind of the shanty town
03:14Corrugated metal, how everything's kind of
03:16This amalgam of different stuff that they've found on the island
03:19Like that's what I want the music to sound like
03:21The bad guys are playing the music now
03:23Alex said something like
03:24It'd be really cool to have something, you know, chains on a metal board
03:28Or like you're banging a metal fence
03:30Two weeks later, Jason calls me up
03:32And he's like
03:33So, this guy who's like this sculptor
03:37Who lives right around the corner from me
03:39I was talking to him about the idea of creating an instrument
03:44And I'm like, that sounds completely insane
03:46We have to do that
03:49Tackling the score to one of the most iconic franchises in the world
03:51Brought a unique challenge
03:53How best to capture the emotional timbre of the characters and island in music
03:58People, I give you the instrument
04:08The instrument
04:10I was gonna let Matt determine the aesthetics
04:13I was really only concerned about the sound that the sculpture was gonna make
04:17Matt built this
04:19Which looks pretty much exactly like Laura's original homemade bow in the game
04:27There's different timbres based on different materials
04:31Metal, glass
04:33It's a direct line from the plot, the characters, the story, the environment
04:38Straight to the sculpture
04:42We always wanted the island to have that character in itself
04:45Creating an instrument gave it this unique identity
04:48It's like a voice
04:49Yeah
04:49The very beginning of the game is nothing but the instrument
05:00Who do you look at in video games or in film that you go
05:04What they've done has shaped who I am and what I do for a living?
05:09They're all dead unfortunately
05:11What?
05:11Yeah I know
05:13Classical composers
05:14All classical?
05:15Yeah
05:15Kind of going directly back to the source
05:17Yeah, yeah
05:18Prokofiev, Tchaikovsky
05:19Even for some of the scary stuff
05:22You've got Penderecki who's a Polish composer
05:24Actually he's still alive
05:25It kind of goes back to ballets or opera
05:27Which is kind of the precursor to film and video games
05:31Right
05:31They were telling a story
05:32That's what I love about that music
05:34It tells a story
05:35Even if you don't know the plot
05:36You can listen to it
05:37And film music's the same way
05:38It's tough with games to do things that are subtle
05:43You want to make Lara relatable
05:46Make her realistic
05:47Got another one
05:48She went down over there
05:50Tell her story from the beginning
05:51And show how she became the superhero she becomes
05:54One of the first things that I ask any developer
05:57Is the emotion
05:58Mm-hmm
05:58Because to me that's the biggest thing that music can do
06:01In a tenth of a second
06:03The music just
06:04It nails the emotion
06:09Wow
06:10That was amazing, huh?
06:11I personally don't think I've ever sounded so good
06:14In an interview before
06:15Although
06:16Jason, Jack and Alex are audio savants
06:18So that would make perfect sense
06:20I cannot wait to jump into this game
06:23Not just for the amazing action
06:24But the emotion and mood and tone
06:27That they're gonna set with their incredible skill
06:31Tune in next time
06:32For a special secret announcement
06:34That is gonna change the way you play Tomb Raider forever
06:37See you soon
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