Recorded February 08, 2011
Published March 19, 2011
Marius Masalar chats with composer Joris de Man about what it has been like working on the Killzone series, especially his latest effort of Killzone 3.
Episode Highlights
0:00 — Introduction
1:05 — Personal background, musical history, and education
5:00 — Getting involved with the first Killzone, early creative development, challenging expectations
8:00 — Unexpected protagonists in the series, thematic references, twisted heroism of the Helghast
12:07 — Working on sound design and music at once on Killzone 1
13:12 — Writing for Killzone 2's interactive music system
15:55 — Raising the bar from Killzone 1 to 2
18:23 — Working with an orchestra, Prague vs. London
20:55 — The whirlwind experience of scoring Killzone 3, ups and downs
23:32 — The violin-led menu theme for Killzone 3 and evolving musical directions and plot directions
28:55 — Working with familiar themes, more sophisticated development, new themes, etc.
32:04 — The process of putting together a cinematic cue from Killzone 3
37:00 — Developer's trust
39:00 — Considering a concert suite of Killzone music, game music concerts good and bad
42:40 — Wide soundtrack release for Killzone 3
43:58 — Upcoming projects
44:58 — Conclusion
Music Clips (Select music clips contained in this podcast)
0:00 — "Birth of War — Dies Irae" (Killzone 3)
18:05 — "Dropship Flight" (Killzone 1)
22:35 — "Main Menu — And Ever We Fight On" (Killzone 3)
26:15 — "The 2nd Helghast March — Helghan Forever" (Killzone 2)
45:53 — "Main Menu — And Ever We Fight On" (Killzone 3)