So I wrote some music for it, but they didn't have anything, and at the end I think they wound up scrapping most of that. There's a game I worked on years ago called ReadySet Heroes, and they had this whole thing where there was going to be an ice level and an ice boss, all these different things.
There's something that ties them together. My challenge to myself is when we do these tie-ins, whether it's a Star Wars season or a Marvel season or a spy season, to somehow still find a through line where it feels like one cohesive game if you step back and listen to all the music. Sometimes we can, sometimes they don't want to. Q: Are there any particular challenges that come with balancing the music as Fortnite mixes those properties together?Ī: Part of the challenge is often just whether we are going to use the themes from the franchise. There's a lot of different things to explore, and it has been a great place to learn and grow. They're always pushing the boundary, doing different tie-ins with other IPs and franchises. But it's incredible, it feels like such a wonderful sandbox to play it. I don't work for the company, and they do use other people to do some things. Q: How does it feel to keep getting invited back?Ī: That's a good way to put it, I do feel like I keep getting invited back. But there was always a safeguard since it wasn't my name going on a poster. I'd been an additional composer on Pirates of the Caribbean and other big things, I've been in the room with 100-piece orchestras. They hired me to write 10 minutes of music or something, but it was terrifying. Q: Have any of the experiences you've done really stood out?Ī: Well, I'll never forget the first time I was in front of an orchestra playing my own music, which was for Fortnite. Every time I do I feel like I'm learning, growing, and getting better, but when it comes down to it my sensibilities still come from more of a rock background. I enjoy that kind of stuff, so I spent a long time studying and writing to get my chops up, and it has worked out because I've gotten a lot of opportunities to write for the orchestra.
There's a lot of very talented and successful composers working now who have no background at all with the orchestra. Q: Has that lack of a classical background affected your career at all? Or more of a mental roadblock?Ī: I think it's much less important than ever to have that background.
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