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I
decided to you use granted cope as a
composer because when I was much younger
let's say I was playing games such as
banjo kazooie
Donkey Kong 64 so for me grant was an
idol was one of my best composer along
with koji kondo at Nintendo's I said one
day I totally want to make a game with
this composer so it did occur email on
LinkedIn from young Marco from Ubisoft
Palin saying that they liked the games
and written in the past and now would I
be interested in writing music for that
game I didn't even know what it was and
so it was very kind of a elusive what he
was kind of very vague and so I said of
course yeah alright write music
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cavitus Tolyatti he might say to me it's
a lava level I need that's that's it and
you kind of got to think about how to
write the music you don't really listen
- right - you can see some some artwork
so this game that's probably like two
and a half hours of music and lots of
lots of themes so it's been a real
really enjoyable process but hard to try
and continually write new theme
afternoon
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for this
Mario you're such a boy you're blue just
make me snow you Harvey
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in Prague today we've been recording the
music for this game and so it's the
first time that everybody who's heard
the music played by a live orchestra we
have had about 18 musicians here I was
trying to
get a little bit of Nintendo and a
little bit of me and a little bit of
Ubisoft and kind of smash it all
together so people have familiar things
that sounds a bit like me and a bit like
Ubisoft that a bit like Nintendo so I
don't know if I managed that but that
was my in my head that's what I was
trying to do video games usually are a
little bit harder I think because you
can't guarantee what the play is going
to do like when the movies for anemia so
you can write these a music that kind of
goes that the right point is higher and
the like right point is the lowest happy
it's saddest biggest I think all right
it's easy to do like that it's very
scheduled when the video game you can't
always guarantee some pleasant very good
and do things very quick simple is a
very bad do things very slow so you have
to make try and make sure you find a
middle ground but the music to make sure
it suits a good player and the bad
player I mean you know you get a good at
mood if possible well the musics been
pretty varied it always isn't a video
game you get a lot of these fight scenes
so obviously that's very heavy dramatic
music very playing in this score there
are some lighter moments kind of magical
moments and some not comedy but more
more lighter amusing moments so there's
a lot of light and shade in the score
which is nice it's not just all the same
stuff we just finished our recording
session for the about 45 minutes of the
soundtrack so I spent the whole day here
putting the officers through its paces
I've been a little bit tired now because
20 meters quite big and quite epic so
there was scraping away and blowing
really hard so but I think it's turned
out very well and so yeah it's been a
great day in Prague so it's always for a
composer to be with an orchestra super
special so like I think it's one of
those days that you you really live for
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good