17th February 2008, 3:02 AM
Very, very interesting. I knew Mark Morgan was the composer of the Fallout, Fallout 2, and Planescape: Torment, but I didn't know that he also did NetStorm and Giants: Islands At War... all of which (except Fallout 2) games I own and love (and thought had great music)... and some others. Anyway, it's an interesting interview.
http://www.en.game-ost.ru/articles.php?i...ction=view
Just posting a few chunks, because it has pictures and stuff and is worth reading there.
http://www.en.game-ost.ru/articles.php?i...ction=view
Just posting a few chunks, because it has pictures and stuff and is worth reading there.
Quote:G-OST: During our investigation we searched the web for your interviews, but couldn’t find any. In the same time you’re a legendary composer for many people… they believe you have added another dimension to Fallout project - unique post-apocalyptic atmosphere (poor minds). We wonder if you surmised at the very beginning that this soundtrack will arouse such resonance and made it a masterpiece intentionaly? You wanted to rule people minds, right?
Mark: I really didn’t. It wasn’t until fairly recently that I was even aware people had been just listening to those particular games. I was touched and somewhat amazed that they seemed to understand my original intent. The “Fallout” soundtrack, other than having to be ambient, really had no boundaries, so I didn’t know what to expect. I didn’t want to “rule people’ s minds” but maybe manipulate a little.
G-OST: We have the information, that Tim Cain in one of his interviews told, that he likes dark gloomy kind of music and is a big fan of Aphex Twin. Some Fallout compositions are VERY similar to Aphex works… Is there any connection, Mr. Morgan? Or, maybe, you intend to say you don’t know neither Tim nor Aphex:) ?
Mark: When Interplay was thinking of using me for the game, they sent over some music that they liked and wanted me to do something similar as a demo. The CD they sent me had no titles or artists’ names, just a few pieces of unidentified music. I gave Interplay what they wanted and I think they must have used some of my demo in the final game. At the time, I wasn’t familiar with the work of Aphex Twin. To me, it was just my interpretation of what Interplay asked for.
G-OST: There’re rumors that you had only a couple of weeks to create music for Planescape: Torment. Is that so? Then we’re curious about Fallout soundtrack A what was the timeframe and when did you start working on the project? Was it the very beginning or later? We know’ you’r e tired and wanna leave this all already, but we have to continue, Mr. Morgan. The same questions for Fallout 2…
Mark: Yes, on all three games I began late in the process... “Planescape” was a quick turnaround as you suggest. I did it in about 2 weeks. I don’t know why, but the game was pretty much completed before they decided who was to do the music. On “Fallout” they had another composer to begin with, but for unknown reasons, Charles Deenen called me to work on it and it too was a fast turnaround. Composing time for “Fallout 2” was also truncated. I believe the game was essentially complete by the time I became involved and they were in a hurry to get it out.
G-OST: In the time working on the project were there any problems or restrictions? It’s a fact that back then games had limited space for music and we’re interested if all the compositions you made for the project been included in final version or something been left out? Have you had any other inspiration sources but the game itself?
Mark: I don’t know about the restrictions as far as file size but I believe most everything I wrote was used. Interplay was very specific about how long each piece of music should be and what music went where. Because of time restraints, there wasn’t really any time for rewrites or additional music. If I understand your second question, my inspiration comes from anything dark, not just the game.
G-OST: In your early projects (Netstorm, for example) was compositions which later been used in other projects, reshaped and rearranged, of course. It seems that Planescape: Torment main theme grown from Netstorm track fragment and Fallout’s “Follower’s Credo” is slightly reworked version of “Thunder” from the same Netstorm game. Why using all this tricks? Is that all because of tight time schedule or there’s another secret is laying underneath, Mr. Morgan?
Mark: I was doing a lot of television at the time, so part of it could have been scheduling since I wasn’t always available. Also, the producers liked certain pieces of my existing music they had been listening to as they were working on the game, so they asked if those could be rearranged or reworked.
Quote:G-OST: Bethesda Softworks currently developing Fallout 3 keeps silence regarding main composer’s name. Atmosphere goes really hot around this. It’s even been rumors that Jeremy Soule is in charge, what caused hard civil commotion, but then he announced that he’s out of game. Most of people, including us (we can be fired saying this) believe that you’re ideal and only person to take over this position. Additionally, investigators found out that your profile at http://www.gsamusic.com contains Fallout 3 reference. It’s your chance to unbosom yourself - is that true or another misinformation created to conceal your life, Mr. Morgan?
Mark: Thanks for the kind words, I would love to do that game, but I have not been asked. I’m hopeful after doing the other two “Fallout” games and other projects over the years, I could take “Fallout 3” to another level musically. As far as the http://www.gsamusic site, it’s obviously a misprint.
G-OST: This profile contains evidence that you and Mark Snow (The X-Files composer) are both in charge of Special Unit 2 main theme. Was he really your accomplice? Have you ever worked in collaboration with some other composer? Is there any composers/performers you wanted or even dreamed to work together? Be sure - this all goes to your profile, Mr. Morgan.
Mark: Mark Snow asked If I wanted to collaborate on a main-title theme for a new show. I had been a fan of Mark’s work on X-Files, so of course I said yes. After the main-title was done, he asked if I wanted to do the underscore for the show. Again I said yes. Since then, we have worked on many shows together. As I said earlier, I worked with Snuffy Walden on lots of shows including the miniseries “The Stand” and recently with composer Sean Callery on a CBS show called “Shark”. As for other composers, I would love to collaborate with Clint Mansell, Paul Haslinger or James Newton Howard. As far as performers, it would be long time dream of mine to play with Peter Gabriel’s band and with David Sylvian. I would also love to write or perform with Lisa Gerrard. I really think she is incredible.
G-OST: Fallout 3 official site met the visitors with concept art and quite energetic symphonic track. It was almost shocking to hear this… ‘cause Fallout always associated with dark ambient and ethnic elements impregnation. How do you imagine Fallout 3 soundtrack? Haven’t you and Tim had an idea to make Fallout 1-2 music more symphonic?
Mark: Like I said earlier, I would take “Fallout 3” to a much more modern place, while honoring a lot of the elements of the earlier games. Maybe heavier, more ethnic, more rhythmic, it could be a hybrid with some orchestral elements. Just nothing traditional. As I recall, Tim and I never discussed anything orchestral. Now that you’ve brought this to my attention, it would be exciting to be involved with the new game.
Quote:Game-OST: Great music is necessary part of any high-quality game for a long time already in game industry. Multimillion budgets, best symphonic orchestras from all over the world… What do you think of the game music industry future? Will there be a place for talented freelancers or symphonic “Hollywood-style” orchestrations will prevail? Are you strong in predictions, Mr. Morgan?
Mark: It seems to me that the game music industry is wide open and has an amazing future. I don’t do well at predictions, but as an observation, I hope there will room for both. It seems there will always be a place for the large orchestral score, but the more experimental scores seems to be the ones I gravitate toward. Having said that, I wish I would have been able to use a large orchestra on Planescape to create more texture and sonic mass.