![]() "The main idea is to find the style and melodies and then dissect and rearrange," Djawadi said. ![]() From there, Djawadi started writing music he felt captured the spirit of what the game will be and then programmed the melodies into his computer as a demo. In the early stages of development for Gears 5, Morgan sent over a 20-page pre-production deck outlining the characters, theme and the story. "The approach is often to create two or four minutes of an action or tension piece that captures a mood that underlines what the theme is." "A movie has scenes that are locked to picture, but in a video game you can't anticipate what the player will do." Djawadi said. In short time, the composer recalled just how unique the creative process for games truly is. With the success of Gears of War 4, the team over at the Coalition wanted Djawadi to return for the next entry. It doesn't always have to be loud and big to be epic, the nuances also matter."Īfter working out the details, Djawadi met with the team at the studio in Vancouver and agreed to score the game. "What I love about my job is every time you approach a new project, you examine it to figure out what does it need and what can we do different," Djawadi said. Whether it's a huge fight scene with angry aliens or a Westworld rendition of "Paint it Black," Djawadi tries to find the emotions the creatives are trying to convey in his music. Fergusson was watching Game of Thrones and Morgan suggested that maybe they should contact Djawadi to work on the project. We knew he was quite busy with television and film." Morgan and the Coalition studio head Rod Fergusson were sitting in an airport lounge, discussing what composers they would like to work with on Gears of War 4. "We had first wanted to contact Djawadi while working on a project code named Ranger," John Morgan, audio director at The Coalition, told Newsweek. Cool guys don't look at explosions Microsoft
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