My music, in general, is very layered, I tend to score dark character and moments without being too dense and over the top.
The music was supposed to carry that heaviness while also portraying the beauty of the Island and the hope of a better future. The revolution is very serious, it's life or death for the main characters. What kind of a challenge was it creating music that hit both a revolutionary tone but also captured the seriousness of what was happening in the story? So I used what I knew and spent a lot of time in the studio experimenting, processing sounds, and playing around with synths. We wanted to root the score in those elements but build something completely new in the end. Luckily I already had deep knowledge about the area having grown up in Brazil and studied Caribbean and Latin American music from a young age. No specific artists but a general understanding of Caribbean and Latin American rhythms and instruments. Having said that, once I had a chance to speak with the audio director Eduardo Vaisman and the narrative director Navid Khavari, I was sold! Their passion and vision for Far Cry 6 were explosive and highly contagious! Far Cry is obviously a huge franchise owned by a fantastic studio Ubisoft, that alone would make any composer salivate. He introduced me to the team and two weeks later I was hired. As we finished that short project, Simon mentioned they were working on a game he thought would be perfect for me. I was brought in by Simon Landry, a music supervisor at Ubisoft Montreal. I had worked on a presentation video for a different video game with Ubisoft.
How did the conversation come about with Ubisoft to work on Far Cry 6's soundtrack and what made you decide to do it?
I've also worked on a short film with Jessica Sanders, a long-time collaborator, and a feature film entitled The Blackout, directed by my very talented wife, Daniela De Carlo. I finished Need For Speed Heat right before the pandemic and got deep into Far Cry right after that.
0 kommentar(er)
