00:00Grazie per la visione
00:30I've been into film and game music as long as I can remember. It's basically all I've ever wanted to
00:35do.
00:38The film music that really inspired me in the early days, Empire Strikes Back, but also Back to the Future
00:45and a lot of Danny Elfman's works, Beetlejuice, Pee-Wee's Big Adventure, stuff even before Batman. These are things that
00:52really caught my ear.
01:01On the gaming side of things, actually, it was a Capcom title. It was Mega Man 2 that I heard
01:06this and I was like, this music is awesome. So I always wanted to do video game music. So when
01:11I got the call for Dark Void, I left it the opportunity to work for Capcom.
01:21Dark Void is an interesting departure for me. I think that in sci-fi realms, my work has become quite
01:29well known because of how different it is.
01:32I score Battlestar Galactica with a lot of taiko drums. I score Terminator, the Sarah Connor Chronicles, with a lot
01:37of metal percussion.
01:38And the interesting thing about Dark Void is that for me what makes it different is that it's a little
01:43more normal.
01:44There's a little more of an orchestral presence in this score than there's been in anything that I've done before.
01:53This game is so epic, the story is so big, that I felt it was important to pay tribute to
02:00some of the great sci-fi scores that have inspired me in the past.
02:07One of the things that we're doing for this project is we're recording the strings separate from the winds of
02:11brass.
02:12The main reason we're doing this is to make the music more adaptable.
02:15What we're doing is we're taking my compositions and we're cutting them up into individual little modules, say 15 to
02:2020 seconds worth.
02:21Those modules then, during gameplay, can be reordered and re-sequenced.
02:26My goal is that the player can play the entire game through and never hear the same exact piece of
02:31music twice.
02:37I wanted to make it unfamiliar, because part of my issue as I play games is you get so familiar
02:42with the music
02:43that by the time you get into the third or fourth hour, the music has just become something to listen
02:47to while you're playing the game.
02:49It might as well be System of a Down or Britney Spears or anything, it doesn't matter.
02:52It's not making it tense because you're familiar with it.
02:55So by re-sequencing things and making it so your brain doesn't automatically know what the next section is going
03:00to be,
03:01my idea is that that will make the music more tense, it will make the gameplay experience a little more
03:05heightened
03:05as your mind can't get comfortable with the music.
03:18The most fun part of the game is obviously getting to fly,
03:21and so among our initial discussions was to come up with music for when you're flying and music for when
03:25you're on the ground.
03:27It was a great idea in theory.
03:29The problem that we found is, as I started messing around with the gameplay
03:32and we started really talking about how to implement it,
03:34is that the most exciting part of this game is you can fly whenever you want.
03:39or you can stay on the ground, it's really up to the player.
03:41It's not like there's a ground level and then a flying level.
03:44So the problem was, if the music is changing, then you could take off for five seconds
03:50and the music could go, and then you decide, no, I'm going to walk around for a little bit,
03:53and then it just stops.
03:55So we realized that that approach really wouldn't work.
03:57In general, then, my approach was to write music for levels where you would probably be flying
04:01or music for levels where you'd probably be on foot.
04:04But again, the fun part of it is that it's completely up to the player.
04:23So we're going to go, and we're going to go, and we're going to go.
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