The first one I wrote for them was not the right approach. I remember writing the first cue I wrote for them it was a combat cue.
Was there a sense of pressure going into Forspoken, then, because Square Enix is such a huge company and it's a high-profile project? It was kind of a project that could go either way it could have been a small success or, as it turned out to be, a huge success. It wasn't like I was doing God of War or some project that has all these high expectations. It was kind of intimidating, although I did not anticipate BioShock being a huge success. Some projects are less inspiring than others, and some are super inspiring almost a huge challenge, and a little scary. I've used sound design for the right cue, it's perfect, but if the project has at least some opportunity to write real music, that's huge. There's a lot of sound design, and it's amazing, some of it's so effective, but that's not what I'm particularly interested in. That's what I grew up loving - writing traditional music. often involve writing music where there melodies, and there's harmony, and there's traditional composition. I'm happy to do them sometimes, especially if I'm not busy with something else, but when something special comes up like a BioShock, Dante's Inferno, Shadow of Mordor, Forspoken, these are really amazing opportunities creatively. I've done routine projects, and they're far less interesting. It can truly make it from a routine project to something really special. Garry Schyman: What interests me creatively, obviously, is the project itself. Screen Rant: When you're thinking of taking on a project, what is generally the thing that attracts you? The story, the world, the tone, or something else?
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