Musically, I always like to play them big and epic. Over the seasons, they’ve gotten bigger and bigger. The dragons, to me, always represent great power. How did their presence influence the season’s music?
Game of Thrones’ latest season featured the addition of Dany’s dragons as major players in the storytelling. With Shogun world, there were some new characters where I was able to write some new thematic materials. Dolores had a new theme, for example, with her character development. We had the Indian world, we had Shogun world, so I got to play with new instrumentation-and also, a lot of new themes. In Westworld, I really got to explore new areas, stylistically.
PAINT IT BLACK WESTWORLD SCENE FULL
But then it really played out in its full entirety at the very end, in the big finale, when the Wall comes down and all hell breaks loose. We established it very early on in Episode 1, when you see them walking through the snow towards the camera. The other one was a new White Walker theme, or a theme for the Night King. Once they meet, we started using that theme, but not fully fleshed out in an emotional way-how we get it at the very end, in the last episode, in that big boat scene. With Season 7, one big, new theme was the Jon Snow and Daenerys theme, their love theme. What was on your mind as you set out on the latest seasons of these series? Musically, what were the new themes? It gives me a chance to creatively explore different areas, different instrumentation. But I love how stylistically, they’re so completely different. Musically, that means that I have to really focus on who has the scenes, plot-wise-and how do we thematically, or musically, tell the story? I guess that’s what’s interesting on both of those shows. Many times you have just a couple of leads, but with these shows, there’s actually a lot of characters. They both have a lot of characters, which is a little bit unusual.
I love on both how character-driven they are.
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