00:00www.mesmerism.info
00:15In writing the score for Days Gone,
00:17the setting played a huge part.
00:23To me, it was about
00:25the texture of the music
00:28matching the texture of the world.
00:32Acoustic, organic,
00:34a little bit of Americana. I think folk elements
00:36like that often are
00:38rough around the edges.
00:39They have an honesty that felt
00:42at home in this world
00:43and matched the grit.
00:50Nature has this special ability
00:52to make us look inward.
00:55And I think so much
00:57of the Days Gone story
00:58people are forced to examine themselves.
01:00They're forced to look inward.
01:05The score couldn't just be about
01:07two guys riding motorcycles
01:10through isolated roads.
01:11It needed to be about the motorcycles,
01:13but it also needed to be about
01:15what's going on in Deacon's head
01:18and his regrets
01:20and his fears
01:21and his doubts.
01:34The Freakers, the infection,
01:38that is the central antagonist
01:40in the story.
01:42Finding the sound world
01:45for the Freakers
01:45involved tons of experimentation.
01:48I started bowing everything
01:49in my studio.
01:51Chairs, trash cans, symbols.
01:54It was challenging
01:55because the Freakers
01:57needed to be terrifying
01:59and their music also needed
02:01to connect to humanity.
02:03Needed to connect
02:05to the tragedy
02:06of most of Earth's population
02:09being lost to this infection.
02:13This one cymbal recording
02:16felt really cool.
02:18It felt aggressive.
02:19It had a cool shape to it
02:22and one of my producers
02:24on the Sony Music team
02:26pointed out there's a little melody in there.
02:29When we zoomed in,
02:30I time-stretched it
02:32and there was this melodic phrase
02:34that emerged just from bowing that cymbal.
02:39That became the basis
02:40for the Freakers' melody.
02:47It suddenly gave their theme
02:50all this versatility.
02:52We could have the low strings play it
02:54and it was menacing and foreboding.
02:57And we could have the piano play it
03:00and suddenly it connected to the tragedy.
03:04And it allowed us
03:06to weave some of this emotion,
03:09this human loss,
03:10but still have the pulse-pounding terror
03:13and aggression that the Freakers needed.
03:26and it allowed us to be able
03:27Scoring Days Gone
03:28is the same as scoring three movies
03:31plus figuring out
03:34how the music can be interactive
03:36and how it can respond
03:38to what the player is doing
03:40and create this immersive experience.
03:43It's a wonderful story.
03:46It's an intense story.
03:47It's sad. It's emotional.
03:49It has all these moments.
03:50and I want the music to draw the player in
03:53and help them experience that.
04:04for the players.
04:05For the players.
04:06For the players.
04:06Grazie a tutti
Commenti