Sophia Tong over at the Gamespot Sound Byte blog has a fine video interview up with ‘Dragon Age: Origins’ composer Inon Zur.
From Power Rangers to Digimon, and Fallout 3 to Dragon Age: Origins, award-winning composer Inon Zur has worked on video games, movie trailers, television, anime, and film. With more than 40 video games already under his belt, he is currently working on the music for Fallout: New Vegas as well as several other unannounced projects.
Posted by Asbjoern Andersen, Epic Sound - Contact
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composer, dragon age: origins, game music, inon zur, interview, music, video interview — 
Gaming site G4 features an interesting interview with Alan Wake composer Petri Alanko. I recently had the chance to play Alan Wake and it’s easily one of the most impressive productions I’ve tried this year, both aurally, visually and story-wise.
If you haven’t tried it yet, be sure to take it for a spin! And for a lowdown on the score for this brilliant game, have a peek below:
The Feed: Tell us about what went into composing the score for Alan Wake. Were there inspirations or preconceived ideas you started from or did you let the muse of the game speak to you?
Alanko: Heh, sort of allowing the muse to recite, I’d say. It’s been natural for me to “dive into a picture”, to feel and to dissect things from it, analyzing the minor details in order to build a big picture. I always link a picture to a sound or a theme, melody, atmospheric background etc. I do believe everyone has some of that in them, in different amounts and flavors, there’s nothing extraordinary and it’s just a matter of practicing.
In the beginning we did have a discussion of possible styles, but the end result was a bit different. A lot of the score depended on the raw material, as I felt the long trees needed some scale of distance, length, air, space, and everything around the Bright Falls was more or less surrounded by mountains, bathing in sunlight. That’s an easy view to compose to.
Read the full interview over at G4.
Marius Masalar over at Tracksounds has posted a review of the Alan Wake soundtrack -- and if you want to see the trailer for the game, have a look below:
Posted by Asbjoern Andersen, Epic Sound - Contact game audio alan wake, composer, game music, interview, music, Petri Alanko, score, soundtrack — Daniel Schweiger over at Film Music Mag has yet another great, in-depth audio interview up – this time around with Brian Tyler, composer on “The Expendables”.
Given Brian Tyler’s talent for also registering myth-making emotion through the mayhem, it seems a given that his powerful work would catch the ear of the legendary Sylvester Stallone, who enlisted Tyler in the formidable task of following in Jerry Goldsmith’s boots to accompany a new adventure of “Rambo.” Tyler’s mix of ethnic rhythms and a gung-ho orchestra made sure that Stallone would stand vibrantly tall as he wiped out another army.
Now Tyler’s re-upped with the actor-writer-director for his biggest, most knowing salute to all that is macho with “The Expendables,” whose army of Mercs make exhilarating mincemeat out of the villains holding thrall over a Latin American island. And leave it to Tyler to once again do them proud with patriotic bombast, batteries of percussive action runs and a virtual marathon of explosive builds- not to mention some real melodic heart to the high-fiving destruction of lives and property.
Hear the interview right here, or hop on over to the original post:
Audio interview with Brian Tyler on “The Expendables”
Check out the trailer for “The Expendables” below:
Posted by Asbjoern Andersen, Epic Sound - Contact film sound brian tyler, composer, film music, interview, score, soundtrack, the expendables — Daniel Schweiger over at Film Music Magazine has a great, in-depth audio interview up with composer Hans Zimmer, on his score for Christopher Nolan’s ‘Inception’.
It’s a composer’s job to unlock the imagination of their directors, translating their flights of fantasy into melody. Few musical dreamweavers have shown as much imaginative dexterity in that regard as Hans Zimmer. Yet even fewer directors have given Zimmer a true match for his talent like Christopher Nolan, whose enigmatic oeuvre consists of such head scratchers as “Memento,” “Insomnia” and “The Prestige,” not to mention two movies featuring The Dark Knight, whose imposing bleakness was abetted by the anti-hero rhythms of Zimmer and James Newton Howard.
If hearing Nolan’s imagination was a tough nut for Zimmer to crack before, then his new film “Inception” takes the filmmaker’s intellectual bent to spectacularly inscrutable heights. It’s a brain-bending, sci-fi tinted mix of “Mission Impossible,” impeccably dressed James Bond action and enough meditations on the nature of humanity and dreams to make Carlos Castaneda scratch his head. Providing a thematic through line to “Inception”‘s multiple, and insanely complicated plains of dream action is an equally surreal, and beautifully thrilling score by Hans Zimmer.
Hear the interview below, or hop on over to the original post here.
Interview with Hans Zimmer on the music for ‘Inception’
Posted by Asbjoern Andersen, Epic Sound - Contact film sound,music christopher nolan, composer, film music, hans zimmer, inception, interview, music, score, soundtrack — Film Music Magazine has a great, in-depth audio interview up with acclaimed composer John Debney on his score for Predators. Well worth a listen!
Debney drives the chase with a role that’s equal parts acolyte and new interpreter, turning the vibe of one great hunter into his own fresh meat.
But then, for all of the sunny comedy he’s popularly played with the likes of “Liar Liar,” “Jimmy Neutron” and “Valentine’s Day,” Debney has shown a dark side that’s gone for the throat with “I Know What You Did Last Summer,” “The Relic” and “End of Days,” not to mention a mammoth sense of symphonic adventure in his rollicking work for “Cutthroat Island.”
All of those styles come into play for “Predators” with a vengeance, making for a score that’s an homage in all the best, creative possibilities- and one, that along with “Iron Man 2,” will likely propel Debney further up the list of summer blockbuster action composers.
Hear the full interview with John Debney right here!
Update: Came across this footage from a ‘Predators’ scoring session -- have a peek below:
Posted by Asbjoern Andersen, Epic Sound - Contact film sound composer, composing, interview, john debney, music, predators, score, soundtrack — A scoring session for ‘The Princess and the Frog’ – Disney’s first hand-animated film for years – with composer Randy Newman:
Posted by Asbjoern Andersen, Epic Sound - Contact film sound composer, music, scoring — Film Music Magazine has a 35-minute audio interview up with legendary film composer Danny Elfman, whose composing credits include the music for “Edward Scissorhands”, “Batman”, “The Nightmare Before Christmas”, and, most recently, “Alice In Wonderland”.
Posted by Asbjoern Andersen, Epic Sound - Contact film sound composer, danny elfman, film music, interview — Electronic Musician has a feature on composer Kevin Teasley, and his take on what it takes to be a trailer composer. Here’s a snippet:
If you were new in town and you wanted to try to get into the trailer-composing business, what would be the two or three things you would do, knowing what you know now?
Make sure to become literate to the craft, the skill set — not only on the creative side, but the business side. Make sure to learn what composers are charging for certain cues, how they should be delivered, and who should mix them. How does the licensing work? Who licenses it for you? What are the terms that you should know? The one thing you really don’t want to happen is to finally get that meeting with that person you want, and when you leave they say, “This person has no clue.”
Read the full interview here.
Posted by Asbjoern Andersen, Epic Sound - Contact film sound composer, film sound, interview, television sound, trailer — 
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