Tomorrow Game of Owns is recording and we have on an incredibly exciting guest: Game of Thrones‘ composer Ramin Djawadi!
In addition to his genius work on GoT, Djawadi has composed music for television and movies including Pacific Rim, Warcraft, Iron Man, Prison Break, The Strain, Person of Interest, and many more. His next big move: he’s set to do the music for HBO’s new scifi thriller series Westworld.
This season, his music was especially scene-stealing, with his “Light of the Seven” taking center stage during Cersei’s destruction of her enemies in the season finale. The unusually piano-focused piece grabbed a lot of attention and made the Game of Thrones Season 6 soundtrack the strongest one yet, charting high on iTunes and capturing the #1 spot on Spotify’s Viral chart with “Light of the Seven.”
The digital soundtrack was released on June 24th, and the audio CD of the Game of Thrones Season 6 Soundtrack will be available on July 29th.
We’ll be talking with Ramin about his work on Game of Thrones, among other things, and tonight we’re taking your questions!
Do you have any thoughts about his work on season six or a particular piece of music? Let us know in the comments below. Make sure to listen for your thoughts, questions and input once this episode is released next week!
Hodor!
Err…
What composers did Influence his work the most?
I saw recently that if you play simultaneously the Stark soundtrack with the Targaryen soundtrack they fit perfectly. And they do! Was this a coincidence or made on purpose?
Either way it is brilliant??
Question for Ramin – You have created incredible scores for countless scenes and memorable themes for the great houses. When you were enlisted to create the show’s music, and as you continue to shape the music each year, what material are you given to help guide your composition (i.e. breakdown of the characters/families from the books, description of the famous locales, or details of the books’ plot points, etc)? Or do the showrunners say what they feel should be the tone of each piece? Or do you get a sense from the material on your own or what?
What was the process for this production? Did you watch the episodes and then start writing the music, or did you come up with a bunch of sounds and then the show producers selected the ones they like?
What’s his personal favorite piece from the GoT soundtrack?
Which character(s) does he find most inspiring/ fun to compose for?
Is there an instrument or type of song that he would love to create for the series that he hasn’t yet?
I want to ask him why he always uses sad music for House Stark (like, “Good bye brother”), bur thrilling music for house targaryen?
Do you use instruments common of Medieval England to create an authentic sound for your pieces in Westeros?
I was curious what led him to decide to feature the piano, an instrument I don’t believe he’d featured in the score for the show before, for the opening of episode 10?
Also, did he study any particular composer’s Theme and Variations as a guideline for the variations he’s created for the various house/character themes (tying into Sand Snail’s question)?
As for a comment, and I don’t think this is what y’all are going for, but it needs to be said, imo, his eyes are as mesmerizing as his music. 🙂
HE’S SOOOOO HANDSOME.
OMG, I’m gay.
Is there a chance we’ll get a Behind The Scenes With Ramin on the next Blu-ray/DVD?
Such an amazing and talented composer!
1) Who would Ramin want to sit on the Iron Throne in the end?
2) Which is his favorite GoT music piece?
I’d like to know where his love of Cellos comes from. They’re predominant in the scores and are very evocative in producing emotions the way they’re used.
God that would be so amazing! He’s such a talented composer! It doesn’t hurt that he’s a cutie as well but it’s his music that stirs me the most.
Hi Ramin
The score for Game of Thrones truly is a work of genius. It takes the series to another level and I have never heard anything like it on television before.
OK – go that out of the way!
I love how each area (especially with Essos, Westeros, and North of the Wall) has its own unique sound world. What are some of the more unusual instruments and how did Ramin go about choosing them? (My own favourite is the percussion sound on Dany/dragons scenes, something struck with a mallet?)
Has there ever been a time when he’s completely stumped on how to score a scene or develop a theme? How does he get past it?
Has composing music for the show gotten harder over the years, or does the music you compose evolves and flows naturally with each new season?
Also, I’m sure you have a daunting task ahead of you for the last two seasons, do you already have any ideas for the epic moments that are sure to come?
Have you ever been approached by David and Dan for a cameo in one of the seasons? GoT does love to give musicians cameos, so why not give one to the man himself? 😛
PS: I love your work <3
Ask him what his favourite tracks are from all seasons of Game of Thrones and why they are his favourites
Personally, what is your favourite piece you have composed for the show and why? (Mine is Kingslayer from S3, that is sheer perfection and you’re amazingly talented!)
When you create a theme for a House, does it evolve along with the show?
For example: Now that House Stark has taken back Winterfell, will that change the House Stark theme for next season?
Question for Ramin: How did you become a music composer for GOT show? Was there a competition like with David J. Peterson
Question: Have you ever tried to get a role on the show?
I have a ton of questions….I’ll try and limit myself lol
When composing the music for each season, how much information about the plot points did you receive beforehand? Do you get to watch the season or the most important scenes to get an idea of what type of music is expected in each scene, or do you only receive a summary from the showrunners?
Was the process of creating the season 6 soundtrack different from previous seasons given the cliffhangers and secrecy surrounding some of the show’s biggest twists?
Were there scenes or characters you had difficulty composing for?
Just when I think you’ve hit your peak, you continue to top your previous work, expand upon it and leave every other show on television in the dust when it comes to character themes, mood and overall originality. With that said…How do you plan to top yourself with Season’s 7 and 8?
Do you compose music for lyrics written in the books, like “bear and maiden fair” or “the song of the seven”? Were there already fan versions of songs on fan sites and if so, do you use them for inspiration or stay away on purpose?
Do you use any orchestral samples in the final pieces or is everything recorded live?
First of all congratulations and thank you for writing such beautiful music!
And I’ve been wondering, do you have any part in the musicalization of songs written by Martin? Such as Rains of Castamere and Bear and the Maiden Fair, or the acapella “The Dornishman’s Wife” that Bron sang in season 5? Is there any other song in the books you’d like to tackle?
Question for Ramin: When you compose each new theme, are you already thinking of variations and how it might interact with other themes, or does that come later?
Comment for Ramin: LOVE LOVE LOVE Sam’s new “Maester” theme!
1) How does he decide a character needs his/her own music?
I’ve noticed that a few characters diverge from their family traditional score, notably Cersei in the coronation scene (Rains of Castamere with Light of the Seven), Jon ( who kinda always had his own song, and but gets the Stark song), Arya (whose motiv has been Essosi since season 1!). Sansa got a kind of feminine/upbeat Stark song in episode 9, which is a nice change from all the gloom.
2) Is he single?
On to topic:
Love your work. Episode 10 of this year….I can’t stop listening to it. Do you ever share the process with another writer? Bounce it off someone before presenting it to D & D?
Why does he make so little use of medieval, Renaissance and traditional folk instruments and musical forms? Does he ever worry about his compositions sounding anachronistic in a Dark Ages milieu?
Also, did GRRM offer any guidance as to what tunes should accompany the song lyrics he wrote, like “The Rains of Castamere” or “The Bear and the Maiden Fair” or “The Dornishman’s Wife”?
EDIT: Hah! JoffreyTrueKing beat me to the latter part of my question.
I don’t even know what to ask, maybe how long does it take to develop a new piece each season, Mr Djawadi does it get harder or easier after all these years from working on thrones, what inspires you every time your working , not just on thrones, but when you compose a piece of Music.
I really love Music, and Music integrated into a Television/Movie scene can be Magic if Done right, some of my favorite scenes are when composers just elevate a simple scene into something memorable with their score, To me Ramin Djawadi brilliant work on game of thrones will never be forgotten, I have it in high regard, up there with Star wars 🙂
So thank you Ramin Djawadi for the memories, and I can’t wait to see what you bring us next year for Season 7 <3
As a composer, I’d like to ask him this:
“Have you ever been inspired by video game soundtracks for situational music?”
The dissonant notes during The Light of the Seven gave me such chills. Usually I react most strongly to the themes for Dany, but so many of this season’s most compelling moments were heightened by the score. I ended up buying the album, and as I drive around listening to it in my car, tears well up in my eyes. What a great job.
Q. Did you know about the falling bell at the sept during the opening sequence of Ep. 10? The music is so evocative of the tolling of bells.
Light of the seven is one of my favorite compositions. What was your inspiration to creating such a dramatic and sad feeling this music has? I have bought it and awaiting the cd. I have it on my music play list and it always makes me pause and listen to it in full with the pictures of the scene in my mind. I also love the eeriness that the chanting has in the back ground and the excitement that it builds into the score. Red Woman is another of my favorites same question, what your inspiration? And Thank you for such a lovely score of music to fill my home.
Q: Are you going to do the music for Pacific Rim 2? That theme was awesome!!!
Sometimes the soundtrack is used for foreshadowing. For example, when Cat told Ned about Jon Arryn’s death, “A Raven From King’s Landing”, which contain’s Little Finger’s theme was playing. This was of course long before we were told that Baelish was responsible for his death. Do the showrunners discuss using the music to drop clues with you beforehand? I thought I heard a variation of Targaryen music when Jon executed his killers, so I was wondering how involved you were in the decision making for moments like that.
Thank you for your brilliant work. It elevates the quality of the show to a new level.
https://www.youtube.com/watch?v=bOHvRaNrNSY
https://www.youtube.com/watch?v=dt-RuKUQSvg
https://www.youtube.com/watch?v=oAnVCtjuHBw
How will your Westworld score be different from your GoT score? How will it be similar?
Does he have any plans to do any live concerts featuring the GoT music mixed with scenes from the show? I would LOVE to see that.
Ooo, yes, I would very much like to know this. I think that he couldn’t possibly have enough time to start after the episode has been filmed and pieced together, so I’d love to know if he writes and refines once the timing is nailed down or if he writes, records, and then splices the recordings together to make them all fit. I’d love to hear lots about that process.
I love both Winds of Winter and Light of the Seven so very much. I think the added voice element is marvelous. Particularly for Winds of Winter, I’m wondering if the voice has meaning. Are they actually saying something in a mysterious language? And if so, what?
Why wasn’t Benjen’s return rescue music included, or the musical transition between Meera looking out upon the Winter landscape and Castle Black ready for battle?
Love! I so wanted my question for Ramin to be: What are your digits? Cuz, um, yeah. The hotness rating is high in this one.
As to your piano question, New Rockstars had an awesome theory about the piano and a huge segment about how the piano, strings, singing, and the pipe organ worked in stages in Light of the Seven to signal different emotions and events. It is seriously awesome insight, even if they are wrong about the theories. And I hope your question gets asked because I’d love to know the real answer.
My favorite soundtrack from GoT is Arya’s theme, Valar Morghulis. It’s different from other Stark/Westerosi themes (as Arya is isolated from her family), and it starts out sad but gains momentum/strength over time. Like Arya, who starts with tragedies and later grows stronger. Am I over-interpreting it, or did you compose it taking Arya’s entire storyline into account? Did the writers give you plot-points to consider while making specific character themes (as early as the first two seasons)?
The only questions I can think of are like, “Will you take off all your clothes and pose on top of a piano?” I’m so twisted. It’s really hard to be me sometimes.
How much freedom do you get when it comes to composing music for Game of Thrones? Also, are you let in on any secrets to make appropriate musical choices?
Finally, which recurring character/house theme are you most proud of?
1. Would he like to make a cameo in the show like other musicians (Snow Patrol singer, Coldplay guy, etc.)??
2. Does he like to sing?? Can he sing The Rains of Castamere?
3. Is he working in a completely new theme for next season like he did with Light of the Seven??
As everyone, I loved the last soundtrack, especially Light of the Seven and Arya’s theme (Needle), really beautiful music.
Do you get the scripts ? Is it a process of composing what you like or the script paves the way? What happens to scenes that need forshadowing to tell the story but can´t openly give the answer to the audience?
Hello Ramin!
I am very curious to know what sample libraries you use for your work when live orchestras are not available. Also, what instrument is used for Daenerys’s themes? Not the duduk, but the almost sring-sounding instrument.
Thanks for your time and your amazing work!
Question for Ramin: Ramin, your music in the finale of season 6 was breathtaking, it felt very different to every previous episode. The Winds of Winter, of course is a metaphor for change. Throughout the episode there was an underlying theme of ‘a new era’. As music graduate I was wondering, was the prominence of the grand piano in the opening scene intentionally used to add to this theme as well? I’ve always noticed that you’ve used mostly Medival instruments, now you’ve added a classical instrument, another symbolic changing of thr era. If this was intentional I’m very impressed. 🙂
How much reading did you have to do to understand the characters you were composing music for? For instance, did Dave n Dan tell you about the origin of Rains of Castamere before you composed it? How much of the backstory (of characters) do you need to know to compose their trademark house music?
Will there be a “Song of Ice and Fire” track in the future?
What do the lyrics in the choral parts of Winds of Winter & light of the seven mean? (And what language are they in?)
I only want to say that I think Ramin does absolutely amazing work and , as a fan, I am so proud that he has been the composer for Game of Thrones! He consistently does movie-soundtrack/symphony compositions-worthy work for the show. He is a huge component of the success of the show overall.
I absolutely love Ramin’s work on game of Thrones, I loved so many tracks from S6, Light of the Seven obviously, other than that my watch has ended, winds of winter, winter is here, the tower, maester.
My question is has he started working on S7? If so, has he already got an input from the writers for different storylines? Finally, any chance we will get a combination of the Stark and Targaryen themes when a certain character’s parentage is fully revealed 🙂 . I realize the last question will probably require a spoilery answer, I am just trying my luck!
How do you produce the sound effects for the White Walker battle scores like Hardhome and Hold the Door?
Ramin Djawadi —- Will you marry me?
ghost of winterfell,
I love that question. The second post at the top mentions that you can play the Stark and Targaryen themes simultaneously and they fit together. (Is that anything like watching The Wizard of Oz and playing Pink Floyd’s Dark Side of the Moon? 🙂 ) It would be interesting if he knew that little secret when he was first composing the songs. Yes, a little spoilery.
Ustad, your music fits in so seamlessly, always enhancing without distracting. Have you developed an emotional investment in any particular character or family, or is it that you are simply more familiar, and comfortable with the GoT world after six years?
Woohoo! Treat him well, guys. Fookin’ legend 🙂
On a scale of 1 to Cersei, how pissed are you at the Emmys?
If he had the ability to go back in time and influence / create the music for any other set of movies / series…. Which one would it be?
Ramin Djawadi has done such an amazing remarkable job according to his immense important contribution to the show. Let’s hope we will get a longer special on the Music in a forthcoming Blu-Ray Release for Season 7.
I would like to know something about the use of different sounds or instrumentations concerning the finished cues or themes like different percussions for the Dothrakis or the Unsullied. As the Targaryen Themes are absolutely amazing I wonder which incredible sound effect achieves the thunder rumbling roar whenever Daenerys decides to attack?
I know everyone talks and admires “Light of the Seven” as an outstanding long piece of music absolutely on point for the long montage in Episode 10.
But I also would give credit for the quiet piano, pianissimo cues in general in his score like the music for Tommen’s first encounter with Margaery or the very tender music in the credits for Hodor’s sacrifice in Episode 5. It reminds me a bit to James Horner’s use of chords in his score for “Der Name der Rose”. I wonder if Ramin knows this music and also if he likes or knows John Barry’s Score for “The Lion in winter”
In general I would like to know how much parts of the score are made with sampled sounds (like the credits for E401) and how much with a real orchestra and choir.
Hey, Ramin!
First, let me say that I’m a big fan of yours since the very start of the Game of Thrones series. I loved your work on every single episode so far.
Tell us more about the “Light of the Seven”. What inspired you to write this unique and different from the other tracks piece of art? Did you want it to be simple, but powerful?
I’m sure that you will keep up with the good work next season and the season after.
Ι loved his work for GOT – his music for the finale was amazing, and definitely contributed in making this episode the masterpiece that it was. 🙂
My question too is if he will work for GOT next season. And if so will his work for any episode of season 7, resemble the scale and features of season 6 finale?
I’d like to ask if composing for shows as different as the action oriented Person of Interest and Game of Thrones requires a completely different approach, since so much of the Game of Thrones soundtrack is scored around quieter moments, motifs and completely different instrumentation.
Has he ever tried some exotic instrument sound that the Director /D&D have said “noooooo!” to?!
Question:
Do you construct the score for each season while watching the edited episodes or do you start at the screenplay level? Also, do you have input on how your music is cut during the edit?
Q. What does it feel like to create a score that is praised by both critics and fans, and especially Season 6, absolutely vital to the scenes playing out on screen, and then never get the recognition you deserve by say, for example, the Emmy Awards?
Ramin,
I remember that, back in 2010/11, it was said that another composer was going to make the score for Game of Thrones but he had to step out later in the production process then HBO brought you in.
Can you tell us more details about the entire process that culminated in choosing you? How challenging was it to compose for season 1 on a short deadline and still be able to set the right tone for the music for the following years?
Jon Snow had a new theme/motif after he was resurrected this season. Some people say they can spot a bit of the Season 1 Targaryen theme stuff (like at Pentos when Dany is introduced etc.) in his theme, was this intentional considering the revelation of Jon’s parentage?
Clare Fox,
because starks always have bad things happen to them lol
Which house theme is his favorite?!??! And who is his favorite character on the show?
Also, hello handsome!
Most houses and characters have obviously got their own theme/medley, yet some of these houses have no place on the soundtracks. Can we expect some sort of House suites when the series is over?
Currently, for example, we’re missing out on good Bolton and Martell tracks, even though these themes were clearly composed. A lot of people would probably like a good suite on the Stark theme as well, for example containing the more uplifting Stark moments such as Robb’s army scenes.
First, congratulations on the recognition you’ve received for your work on Game of Thrones. It’s well deserved. Wish I could do this interview, so many questions:
1. Would you talk about the professional influences in your life and how that has impacted your approach to Game of Thrones. For example, I think I’ve read Hans Zimmer “discovered” you after your studies at Berklee in Boston. Has Zimmer’s style impacted yours? As an example, was your use of the organ under Cersei Lannister inspired by his use of the organ in the soundtrack for Interstellar?
2. You’ve achieved significant professional success already, but you also still have a long career ahead of you. Do you have any goals you hope to achieve in future work? For example, John Williams is most famous for his work on films like Star Wars, Superman, and the early Harry Potter films. Yet his work on other scores, like Schindler’s List, showed a different and more sophisticated side of his oeuvre, as did some of his stand-alone orchestral compositions. Are there other genres of film for which you hope to compose? Other styles of work you hope to write? Do you hope to write stand-alone compositions in addition to scores for film/video/games?
3. You’re now one of the big up-and-comers in scoring for film/video. I’m sure we’ll see your name in credits for decades to come. What other younger modern composers would you put in that group? Whose work, of your peers, do you most admire, and why?
4. Which GoT directors have you enjoyed working with most, and why? What do you think makes for the best relationship between composer and director?
Some of these comments would cause a righteous uproar had they been said to a woman. Just saying.
That aside, I just want to tell you that I think you are a genius. I feel that each theme fits the scenes perfectly, but more importantly it fits the characters.
Q1: You must have read the books and viewed each season before composing or? I’m team Theon Greyjoy and I absolutely love the music you have created for this house and his scenes in particular – but all the songs for all events/characters are quite perfect. I just feel such sadness emanating from the Greyjoy scenes. Perfect!
Q2: The season 6 melody “Let’s Play a Game” ends beautifully (and tragically) – does this theme appear elsewhere in other seasons? I should love to hear an even longer version of those last 30 seconds.
This is precisely what I wanted to ask and say.
Singedbylife,
as a woman, if those comments were said about a woman I would have no problem with them, which is why I made the comments myself about this handsome man.
#notahypocrite 😛
The theme for the White Walkers begins melodically with a descending minor third, while the Dragons’ theme begins with an ascending minor third.
Was it a deliberate choice to have this direct duality between ice and fire?
Dear Ramin. Belated Happy Birthday. Thank you for the music. And please please be more active on instagram since some of your fans don’t use twitter or facebook. Dankeschön. Greetings from Dortmund Germany.
Q: Most of the time, Daenerys soundtracks are accompanied by a children choir which obviously reflects to her care for the people that she loves and has to protect but does the children choir was used to also reflect the fact that she can’t have children herself ?
Q2: Would you be ready to make an entire episode based mostly with an organ and woodwinds instrument like in the movie Interstellar or with mostly low percussion, low strings and low brass with an emphasis on drums like in the movie Sicario ?
Dee Stark,
God, I love being cat called and complimented (I’m a woman too) and I find it ridiculous that it’s deemed wrong to compliment a woman unless she tells you it’s ok. I mean we gotta find out who is attracted to whom and vice versa somehow, right?as long as it doesn’t mean that the man who praises thinks he’s entitled to anything whatsoever, I’m good. Today, in the U.S., it seems to be the social norm to be offended by cat calls or remarks like the one with the naked on the piano thing. It’s like there is no room for anything and certainly not sexual jokes.
I know that didn’t come out clearly in my post. English isn’t my first language and irony gets lost if you forget the “..” marks.
Season 6 soundtracks are perfect, I love it, Ramin.
So, question 1: What are the lyrics of The Children, Mhysa, The Winds of Winter, Khaleesi and several other tracks that sounded similar to Targaryen theme? I read somewhere that they’re High Valyrian. Can you confirm this information, please? And if it’s true, where to find their official lyrics?
Question 2: Is there anyway that sometimes in the future you and HBO want to publish the behind the scene video of making the soundtrack? I think it’s cool to see a bit of the process.
Thank you.
Nymeria Warrior Queen,
What you asked about the piano! Best question! It was so jarring.. which of course was perfect for the scene…
I would just like to say thank you Ramin for the amazing music you have made for GoT. It works so seamlessly with the visuals. I listen to the soundtracks a lot. When I listen to the music it triggers an emotional response as I am reminded of the particular scenes. Since the finale not a day has gone by that I didn’t listen to Light of the Seven. Thank you!
Oh and the Emmys suck!
Singedbylife,
hahaha, I agree with you
ppl are too sensitive these days
Since we are heading into the long night, can we expect some more dark wintery White Walkerish themes?
How it feels to be a fookin legend?
Ginevra,
Hahaha. Yeah, I was trying to avoid just saying, “oh, and btw, please communicate to this brilliant composer he’s really cute.”
Thank you so much for that video. Wow, that was an exceptional analysis!!!
Sullied by Knight,
I saw the video on YouTube, the music syncs so well that it could pass off as the Starkgaryen theme 🙂 . I would love to hear Djawadi’s version though, whenever he comes up with the track.
We have just found the Song of Ice and Fire: these two themes together.
1 to Cersei! I’m going to have to use that scale someday.
Ahh definitely one of the best cinematic composers. Congratulations on such a fantastic score. Goodbye brother, the north remembers and the tower are my favourite peices!
Is there any show/movie/character that you would like to compose for that you haven’t yet?
What’s your approach to a theme or character? Did you consult with GRRM to create the house songs like Rains of Castamere?
I heard Miguel S originally put in a placeholder peice of piano music in the season finale and you then created something better based on that. Is that your usual approach or do directors tend to leave the music out until you crate something?
Thanks and keep up the incredible work!
ghost of winterfell,
Heading to YouTube to check it out now!
slightly offtopic, but there are some songs on the soundtrack (which I listen to all the time while I work) I cant remember which scene they are from
Most of them I know
Can someone tell me the scenes they play (the ones I haven’t filled out), and correct the others? I know some of them are repeated (like jons theme), but some of them are specific to a scene
Blood of My Blood: — ending of episode 6
Light of the Seven: 9:49 — duh! haha
Needle: 2:56 — Is this when arya retrieves needle? I always thought it was when she completed her training
Coronation: 1:46 — ??
Feed the Hounds: — Theon and Sansa
My Watch Has Ended: — Jons watch ends – oathbreaker
The Red Woman: —- episode 1 ending
Hold the Door: — DUH
Khaleesi:— After burning the temple – Episode 4
Maester: —Episode 10 sam
A Painless Death — ?? Is this arya’s chase scene?
Reign: — ???
Let’s Play a Game — Ramsay Rickon BOTB
Bastard — ???
Trust Each Other — Jon and Sansa Ep 10
Winter Has Come —- ??
Hear Me Roar — Cersei Crowning
The Winds of Winter — Final Scene Episode 10
Lord of Light (Bonus Track) — ???
Service of the Gods (Bonus Track): — ???
I Need You by My Side (Bonus Track): — Dany Jorah
The Tower (Bonus Track) —- Tower, episode 10???
Unbowed, Unbent, Unbroken (Bonus Track) — Episode 1 Sandsnakes
I Choose Violence (Bonus Track): — Cersei
Hodor (Bonus Track): — ???
Needle – mostly from the closing credits of Episode 8.
Coronation – Euron goes looking for his niece and nephew.
A Painless Death – yeah, the chase scene.
Reign – Daenerys attacks the fleet in Meereen.
Bastard – The battle (before Littlefinger’s arrival).
Winter Has Come – “The King in the North!”
Lord of Light – Jon’s resurrection.
Service of the Gods – Confrontation at the door of the Sept.
The Tower – yeah, the Tower of Joy (Episode 10).
Hodor – not used in the show, as far as I can recall.
Glóin the Dark,
Oh awesome thank you !!!!!
No worries! One other thing: Trust Each Other is actually the conclusion of the battle, beginning with the arrival of the Knights of the Vale.
Glóin the Dark,
Ah okay! I’ll make sure to pay attention when i rewatch!
Love the music, in particular the Wall/North of the Wall music that gives that eery mystery feel, works great in the Telltale game as well
1. If there’s anything I’d ask it would be is it often a bit weird to have to effectively do music for several genres in the one show
Eg Hardhome changed from Medieval drama to a Horror show when the dogs started barking, in reflection of a Directing/Producer decision (and what a good one that was)
2. Does he ever get “thrown off” or does he have plenty of time to figure out a response, eg the music for Sept of Baelor blow-up perfectly fed into a sense of suspense
Does he see the finished post-production scene before making the music? Or just the story-boards and acted scenes?
Such an amazingly talented man! Thank you for your work throughout and esp in S6 where the music blew me away….i am listining to the soundtrack now on repeat at work.
Q’s: What was the most challenging episode in S6 to compose for?
Who would you want to see claim the throne at the end of all things?
Thanks for posting that. This is the absolute best analysis. New Rockstars are always incredibly insightful. Here’s a link to their vid. They deserve a ton more hits.
https://m.youtube.com/watch?v=-hh-52ptifI
Just tell him thanks. Thanks for the AMAZING soundtrack he produces year-in-year-out. This man is a genius.
I know I’m late, but ask him if there is a chance that we’ll ever get to hear all the great tracks that didn’t make it onto the official albums?
Chriss,
Me too! Beautiful man!