So it’s a challenge, but it also enables you to put your own style in to it. I did something similar on Medal Of Honor where Michael Giacchino and Christopher Lennertz had done some fantastic scores, and then when I did the new game they kind of wanted to re-set and have new themes and stylistically go in a different direction. Is that quite a unique thing for you to do as a composer – to kind of re-appropriate existing material and someone else’s work? You worked on Warcraft last year, which, as an existing franchise, already had a score that its audience was familiar with. Why don’t we do that?” So then I go back and I write the beginning again and then we play it again and go through that process. Or the other way around where we play a piece of music once I’ve written it and then we realise, “You know what? Perhaps we should have started the piece possibly thirty seconds earlier. So then we’ll adjust it by ten seconds, or something. How about we wait until Cersei says this…” for example. As a matter of fact, sometimes it’s interesting – sometimes we decide to put music and it might be that they say, “It’s coming in a little too early. It’s a great collaboration with them and I love their vision for what they want for their show.
How does the feedback process work between you and David and Dan? Do you send them back the footage with the composition attached? Do they come and sit with you in the studio? And because it is such a long piece and it was so different, I had plenty of time. We experimented a bit about how we wanted to shape it. Well, typically I have a few weeks to finish an episode, but the example of this particular scene I actually had more, again, because this was so different from anything else. How long do you tend to have with that? How long would you have to work on a scene of that length? When it comes to you, it’s presumably a locked picture. So, talk me through the process of putting together a scene like that. Is it quite difficult to put your finger on that moment when a piece is done and it’s ready to go out in to the world? I get new ideas as I’m doing it and you really get attached to a scene, so I always have the picture on when I write to a scene, so that’s why I see it so many times. And while I do that I see it over and over and over. And I play every single instrument during my demo, so that’s a very time-consuming process.
And I think, mainly why it’s so many times is when I write I always have the picture running in the background so as I do my arrangements in a scene, I have to go back over and over again. Is that an exaggeration, or is that genuinely how many times you have to sit through each scene?
#Game of thrones composer free#
Go ahead and feel free to write this theme, because we know that it’s going to come up and we’ll have a good use for it.” But otherwise I don’t really come back until they’re in post-production.Īnd I understand that you watch each scene “about a thousand times” while you’re preparing the score. The only piece where that happened was The Rains Of Castamere – that I actually wrote in between seasons, because we had the lyrics for the books and they called me up and they said, “Hey, Ramin. Very rarely do I get a call during the shooting process when they actually ask me to write a piece that’s not actually attached to a picture. Is that how it’s worked for the past few seasons? How does the collaborative process between you guys work? You’ve mentioned before that you’d have meetings about future seasons while you were working on the current season. You’ve been working with David Benioff and Dan Weiss for half a decade now. As hype reaches fever pitch for Game Of Thrones’ return this weekend, we sat down with Djawadi, to reflect on some of season six’s big surprises and what we might be able to expect as we enter the show’s penultimate season.
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