Recorded November 1, 2010
Published November 12, 2010
Composer Richard Jacques speaks about his latest project, 007 BLOOD STONE.
00:20 - Introduction
01:30 - How did you pitch a live orchestra for Headhunter?
03:52 - Dealing with budget restrictions
04:55 - Samples vs. live instruments
06:50 - How samples have affected younger composers' styles and the importance of education?
09:15 - What was it like working on a team for Mass Effect?
10:38 - Working on Alice in Wonderland, the sound and style?
11:29 - How do you bring a fresh voice to a franchise with such a rich history of interpretations??
13:21 - How did you get involved with the Blood Stone project??
15:45 - Did you use any familiar themes??
16:50 - The Bond "style" and making Blood Stone a classic Bond score?
18:27 - What elements are you most proud of? What will the fans enjoy?
20:04 - What is it about scoring for games that attracts you?
21:40 - How does the progress of technology affect your work process?
23:06 - Middleware technology, audio implementation
23:31 - Years of experience and sharing with the industry community
25:56 - What are your views on the trend of having film composers score games?
25:53 - Unifying the stature of game and film music; not distinct styles; more creative freedom
27:55 - Predictions for the future of game audio and its technology
Music Clips (Select music clips contained in this podcast)
00:00 - "Ready for Action" (Headhunter) by Richard Jacques
01:03 - "Greywolf" (Headhunter) by Richard Jacques
10:23 - "The Citadel" (Mass Effect) by Richard Jacques/Jack Wall/Sam Hulick
17:55 - "The Package" (James Bond 007: Blood Stone) by Richard Jacques?
29:28 - "Athens Harbour Chase" (James Bond 007: Blood Stone) by Richard Jacques