![]() ![]() The revolution is incredibly serious, it’s life or death for the characters. What kind of challenge was it creating music that had to a revolution, but also captured the seriousness of what was happening in the story? I used what I knew and spent a lot of time in the studio experimenting, imagining and experimenting with the sounds of the sound a lot. We wanted to ascribe all these elements but finally we were able to get something completely new. Fortunately I had already knowledge and knowledge of this area in depth I was a huge fan of playing Brazilian music and reading Caribbean and Latin American music from a young age. There aren’t any artists specific, but a general understanding of Caribbean and Latin American rhythms and instruments. Who were the artists who a chord with you for those influences? In my mind, the music of many African and Caribbean countries influences me. I started a journey through the game, and worked hard with those capturing. It was fantastic to come early and see the music come together while the island became beautiful. We’ll have a lot of conversations with Navid, the director of a narrative, where he would explain the history and history of the island, and the detailed story of each character. ![]() Initially, I received a photo of Yara and her characters, a look book. I was working on the game because they were building the world of Far Cry 6. What kind of material did they give you and what kind of game did you test yourself before planning? Their passion and vision for Far Cry 6 were explosive and highly contagious! Then, as soon as I gave up talking with the audio director Eduardo Vaisman and the film director Navid Khavari, I was sold. The company would make a composer salivate all the time. Far Cry, obviously, is a vast franchise owned by a very fantastic studio, Ubisoft. He introduced me to the team and two weeks later I was hired. After we finished that short project, Simon mentioned that they were working on a game that he thought would be perfect for me. Simon Landry stepped into the music supervision in Montréal. I worked with Ubisoft on a presentation video. How did the conversation start when Ubisoft used to work on Far Cry 6’s soundtrack and what made you decide to do that? I worked on a short film with a long-time collaborator, and a feature film entitled The Blackout, directed by my very talented wife, Daniela De Carlo. Before the pandemic, I finished need for speed to get to Far Cry soon. What kind of projects did you work on the last two years? ![]() ![]() We ended up moving because we realized that we needed more space because of the pandemic. Social and family life was the most difficult aspect: kids at home without any class, or need to get help with online classes. We spoke to him about the music, how he made the soundtrack and how he went through it all to bring Yara to life.īC: The first thing, how did the pandemic feel? How are you putting out work?īromfman: You’re having a good time! I had Far Cry ten so I could keep busy and not too tired while the world is shut. The music was the work of a native artist, Pedro Bromfman, who went out of his way to capture the spirit of the fictional island of Yara, in the spirit of a demise imposed by a dictator. When Far Cry was released last month, one of the most memorable parts of the game was the amazing soundtrack that was created. ![]()
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