With a game, we don’t see the final graphics until its finished, and therefore we are constantly working with ideas, concepts, and impressions of the worlds that are being created. They can be symbiotic, as we hope our recent project “Chernobyl” was, but often our eyes and ears exist in parallel. More often than not, the visuals of a film are locked, and the music is added towards the end, and this leaves less space for intertwining the visual and auditory landscapes. Working on a game was a deeply enjoyable experience. How did you enjoy the process of composing a soundtrack for a game as opposed to working on a film? Were there any aspects that turned out to be more, or less, challenging than you expected? Wanting the music to feel completely rooted in the physical environment of the game itself, Hildur and I quickly latched onto the idea that we could bring the physical environments themselves to life, augmenting the chaos of the physical environment into the ears of the player. This meant no laser guns and shiny synths, and no nostalgic orchestras to romanticize and distance the player from such a brutal world. When discussing the sound-palette for Battlefield 2042 we asked ourselves “What kind of world is being built?” The world of the game is futuristic, but that future is close enough to our current world that the sound must feel rooted in our current reality. How did you arrive at this “texture” when sitting down to start composing the game’s soundtrack?
One of the things I appreciate about the Battlefield 2042 soundtrack is that you can practically feel the music: it’s very metallic, organic, and even harsh – my mind conjures images of rusted metal drums, coarse sand, and the texture of a bass guitar string on several tracks. To learn more about its composition and its unique arrangements, we spoke with Hildur Guðnadóttir and Sam Slater, the composers of the Battlefield 2042 soundtrack, to learn more about the work that went into one of the year’s best video game scores. There’s this physical, harsh texture running through each track that complements the on-screen chaos of battle like never before. Battlefield 2042’s soundtrack, however, feels like a production on a level that we’ve never heard before – and frankly, I think it’s amazing. Its soundtrack has also come to be familiar to players, and its “Battlefield theme” always seems to find a way to live rent-free in my mind with each new iteration. From the accurate reproduction of weapon fire to the crunch of gravel under your boots, it’s one of those most intensely auditory gaming experiences you can play today – I recommend you get yourself a good set of headphones when you play if you haven’t already done so.
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“I’m just happy to get to join the ride,” he said.Beyond its epic battles and intense gunfights, the Battlefield series has built an incredible reputation for delivering a premium audio experience. He says he trusts the “To Kill a Mockingbird” cast and crew. He admits his theater experience is limited but he did perform in a 2012 production at the New York Stage and Film’s Powerhouse Theater. Kinnear earned an Oscar nod for “As Good As It Gets” and his additional credits include “You’ve Got Mail,” “Little Miss Sunshine,” “Sabrina” and “Baby Mama.” He also has two Daytime Emmy Awards, both for “Talk Soup.” But there’s part of me that also feels like maybe keeping some distance from it frees up the creativity a little bit by not looking back,” he says. “I’m sure I’ll be amazed if I do go and see it. He is scheduled to start rehearsals in December and hasn’t yet decided whether or not he’ll see Daniels in the role during his four weeks of preparation. “I did feel a little catching my breath,” he says. Kinnear has visited New York to discuss the role with the creative team and while he hasn’t yet seen the show, he has walked onto the empty 1,435-seat Shubert Theatre stage. And, at the same time, all the texture and the power of the book I don’t feel is lost in any way.” “I feel like he humanizes Atticus in a way that needed to happen. It’s such a beautiful, slight modernization of the material to make it relevant in a way that that is so resounding right now,” he said. Sorkin’s script - which cuts the undergrowth of minor characters and enhances others, particularly the maid Calpurnia and Tom Robinson, the man falsely accused of rape - was the thing that really grabbed Kinnear. Lee’s iconic book has been adapted for the stage by Aaron Sorkin, who won an Academy Award and a Golden Globe Award for his screenplay for “The Social Network.” The play is directed by Bartlett Sher.