Mister SCHYMAN what did you made to arrive and start with video games? How did it start and why did you specialize you for video game soundtracks since many years?

It wasn’t a conscious choice to go into games.  An opportunity to score Destroy All Humans! was presented and it sounded like great fun.  Once I saw how cool games had become I was very interested in continuing to work in this area. 

 

What changed between BioShock 1 and 2? Did you change your way of work/composing between BioShock 1 and BioShock 2? 

In my discussions with the audio and creative directors at 2K Marin we decided early on to keep the music in the same general style as the first game.  After all we’re still in dystopic Rapture. I think I refined the sound of the score somewhat.  The hardest part of writing the first score was coming up with the approach.  So having that established made it somewhat easier.  But there are differences, mostly dictated by the different needs of the two games.  For one thing there’s much more combat music written for BioShock 2.  When I scored BioShock it was originally thought that the combat would play on its own without score.  It was only at the very end that it was felt that combat music was needed.  So they brought me back to write a few combat cues – unfortunately not in time to use the real orchestra as the session had already come and gone.  This time we knew we needed a fair amount of combat scoring so I was prepared.  One very cool thing is I had a larger orchestral budget, which permitted me more time with the players.  Plus I got a full brass section, which helped a lot with the combat music. 

 

 

You worked in London for “Dante's Inferno” and in Los Angeles for “BioShock 2” as composer and conductor. Is that not too busy to handle? Why do you change your orchestra and music crew?

 We decided to work in London because we wanted to record the choir there.  As long as we were travelling that far it made sense to record the orchestra as well.  I brought my engineer Dan Blessinger with me along with my assistant and orchestrator Peter Bateman so I had the comfort of my usual crew.   

 

 

Are there some differences in British and American orchestra?

As far as recording is concerned the two best places on the planet, at the moment, to record an orchestra for film or game music is LA or London.  It’s not that there are not great players in many cities – but the ability to sight read very complex scores and record the music after just a few rehearsals is very difficult and the players in both LA and London can do that remarkably well.  There are first class recording studios in both cities as well.  

 

Could you tell us something about the great solo violinist Martin Chalifour? How was the collaboration working with him? Whom and why do you choose him? Did you work already with him before?

 I needed a concert violinist for BioShock 1 and 2 for the solo violin work.  The solo parts are very challenging in both games and I needed someone with extraordinary skills.  There are many fine violinists in Los Angeles but very few of the caliber of Mr. Chalifour.  He agreed immediately and proved a great pleasure to work with.  Not only is his playing absolutely amazing but he is very easy going and totally grasped what it was I wanted to achieve. I couldn’t be happier with the way he played his solos. 

Photo by Paul Gorman

Do you write down your sheets digital on computer or by hand on a paper? Did you use some electronic music and synthesizer too or just some real instruments, playing and orchestra?

 Nowadays I work with software to mockup my scores for approval.  Once they are approved I orchestrate them from the sequence.   My paper and pencil days seem to be over for the moment anyways.    

How did you get this job (composing those 2 soundtracks)? Who gives you the GO for it? Why did you accept it? Which information, requirements or advices do you received before you start BioShock 2 or Dante’s Inferno? Did you received some storyboards or art works to get some ideas?

 Well for BioShock 2 they were very pleased with my work on the first game BioShock.  For Dante's Inferno the audio director was very impressed with my score for the original BioShock title and thought I would be the right person for the project. 

 

 How much time did you have to compose and create the soundtrack for Bioshock 2 and Dante’s Inferno? 

I worked on BioShock 2 on and off for the better part of four months.  While I worked on Dante's inferno (with long breaks from time to time) for nearly a year.  

  Photo by Paul Gorman

 

How would you describe your own style? What kind of atmosphere are you trying to create, when you are using male, female or children choirs? Are female for example more interesting for drama and emotions or children for fantasy and mystery?

 My style is different from project to project.  One quality a good media composer has is the skill to work in many styles.  As for choirs I have not written a lot for voice.   I have never used a children's choir for instance.    But I do not think that women are inherently more interesting for drama or emotions.  It just depends on what you are going for. 

  

Where do you find your inspiration for BioShock or other games? Are you playing the games before or do you watch some movies and other games to find ideas? If you played them before, are they already finished?  

The games are rarely playable when I am working on them.  If they are they can only be played at the offices of the studio working on them.  So I rarely, if ever, have that opportunity.  My inspiration comes from whatever visual elements the game's developers send me from movie captures of gameplay to art, screenshots and scripts.  Plus, of course, discussions with the audio and creative directors of the game. 

 

Are there some game styles which are easier or more difficult to compose? Was BioShock 2 easier to compose than Dante’s Inferno? What’s the musical difference between Dante’s Inferno and BioShock 2?  

Interesting question.  Yes Dante's Inferno was a bit tougher because I had to design an entire style around the game.  For BioShock 2 I was keeping the same general style as the first game, though I was writing a lot of combat music which is very challenging.  Neither game's style is easy.  I just finished scoring a documentary and that was easy in comparison. 

 

Photo by Paul Gorman

 

What are you doing in your free time? What kind of music are you listening to, if it isn’t a soundtrack or score?  

I listen to all kinds of music, but my favorites are classical and soundtracks.  At the moment I am on a Mahler Kick, I just can't get enough of his glorious music!    I listen to a lot of soundtracks just to keep up with what others are doing and because there is a lot of amazing music being written for films and games. 

 It is never good to become locked into one way of thinking musically and one way to avoid that is to listen to what others are writing including contemporary classical and pop music. 

 

Are you a gamer too?

 I guess that depends on how you define gamer.  I don’t have a lot of time to play games (don’t watch much television either for that matter) but when I do I love to play.   I am a BioShock fan and that would be true even if I hadn’t scored the games.  Loved Portal and played World of Warcraft for a year.  Even play Plants Versus Zombies when I need some stress release.

  

Please tell us something about your next projects. What kind of composing are you doing right now?        

 I have two big projects coming up but, unfortunately, secrecy does not permit me to share the titles with you.  Sorry about that. 

 

 

Interview réalisée par   Christine BLANC & Fabrice STEURER

Publiée par Christine BLANC pour inter-activities.com, tous droits réservés.