2018年8月21日星期二

Ramin Djawadi on the Game of Thrones Live Concert Experience, composing for season 8

Ramin Djawadi provides been composing music for Game of Thrones since the beginning, and it’s been uniformly excellent. Wether its the show’s opening theme, “Goodbye Brother,” “Dracarys” or “Light of the Seven,” it’s not possible to think of the show without thinking of the score, and there’s still one period left to go once upon a time cosplay costumes

Unfortunately, Djawadi can’t say much about the scoring for the final six episodes. “To be honest I haven’t actually started yet,” he told Watchers on the Wall. “I don’t know when I will start. I don’t have a schedule for it however, or anything. I haven’t seen anything yet, I don’t know anything, I’m just as excited and curious as everybody else.”

I generally like to see as much story as possible, so I can really get a good idea. Sometimes, during the past, I’ve started writing based on a conversation with [showrunners] David [Benioff] and Dan [Weiss]. But overall, I really like to see factors in front of me and have a clear understanding of the full storyline. In this particular case, people keep asking me ‘How would you…?’ ‘Musically, what are you planning to do…?’ And it’s hard for me to say anything, especially, with Video game of Thrones, it’s a show that’s known for its surprises and for stuff that happen, and for me personally musically, I just literally have to sit and wait and observe what comes my way.

We can listen to some of his past hits in the meantime:

Because Djawadi has been composing for the display for so long, he’s had to write new styles and build on old ones for characters as they’ve gone through big changes. How will he decide whether to create a brand new song or just iterate on an old one? adult sleeping beauty costumes

[W]e kind of take it season by time of year, and see where the character develops…[S]o, with Daenerys for example, I take her theme and combine it with the dragons theme as the dragons get more powerful. I get to expand that thematically, and then sometimes we reach a point where we go, you know what? We need a new theme, so for instance last year, for Jon and Daenerys, we have that big ‘appreciate’ scene, and we establish a new theme…It’s continuing existing themes and then adding new things on top. Same with the White Walkers last year. It was such a big part of it, so we actually created a fresh theme. For the Night King, with the whole Wall coming down, we just sensed like there needed to be more there than the preexisting White-colored Walker music. sleeping beauty prince costume

That may be area of the reason Djawadi hasn’t been able to compose for period 8 yet; from May to June, he was journeying around Europe playing the music of the show to audiences packed with fans; the North American leg of the tour starts in September.

The Game of Thrones Live Concert Experience was a big success when it toured in 2016, between seasons 6 and 7. Today, Djawadi has a whole new yr of music to work with, although older favorites like “Light of Seven” and “Battle of the Bastards” are still in the combine. “[B]ecause I added season 7, there were definitely some things I had to move around or list, and it wasn’t easy, because if it was up to me, I would probably do a 6 hour concert,” he said. “I have therefore much more I wish to perform and I would like to perform and the display has just so many great moments and it’s just hard to condense it down to a 2 ½ hour show…[T]here is a lot of familiar stuff from this past year but there are a lot of new things in there, and I think it’s good.”

This new concert now is a completely redesigned stage. We got a lot of the points from last year that we thought were really well received by the viewers and we in fact did even more fun items, like organic elements, for example, we added more pyro, people really love when we obtain the pyro going, so we've more of that, and we re-modified it. Without revealing too much, for example, there was the ‘Goodbye Brother’ piece, where our violinist is usually under the Weirwood Tree and this year we did something that I think is also cooler where our violinist becomes the Weirwood Tree and will actually go 35 foot up into the air and enjoy our theme. It’s totally stunning. So, we did a lot of reworking, and now the big matter is, now that time of year 7 is definitely behind us, I updated the show and added material from season 7, therefore it’s today current with the show itself and the storytelling we have.

The pyro was indeed eye-popping on the last tour…

Before we sign off, let’s circle back to composing for Game of Thrones. How really does Djawadi handle a situation where multiple character types, each with their very own theme, gather in one place?

It’s a big math game. For an example of a lot of designs coming together at the end of period 6, when Daenerys can be crossing the sea, and we've several characters coming collectively, there are 4 or 5 5 parts that I combined. We have the main title theme, we have Daenerys’ theme, we've the Unsullied theme, we have the Greyjoy theme, so it’s, the only way I can describe it is it becomes a big math thing of trying to make the harmonies work and the scenes and how to overlay them and it gets quite complex.

We can only imagine how complicated the themes are going to get when everyone begins meeting up in the ultimate season.

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