7/28/2023 0 Comments Game of thrones composerSome woodwinds, something that I never did in ‘Game Of Thrones.’ Just a slightly different flavor. So I sprinkled in some flutes a little bit here and there. We thought, ‘This is before, could there be some instruments that maybe were used 300 years before and later by the time we got to “Game Of Thrones” these instruments fell away?’ So I call back to some of it to get us into the show, but then we treat it as a continuation of new characters and new plots. So we wanted to make sure this is familiar territory. We want to make sure when people watched this – especially with the show having been off the air for a while – they need to feel back at home. Q: Now you’re also scoring ‘House of the Dragon.’ How do you write music for a show that’s in the ‘Game Of Thrones’ universe but is its own thing, too?Ī: We always said the DNA needs to stay connected. I never thought people would be into this so much. I thought, ‘Oh my gosh, people are really inspired by this and they’re doing their own versions. He played the drums, the bass and the guitar.Īnd then two hours later there was another version. Q: Do you remember when you first realized people were really responding to the theme or the music in general?Ī: I remember very well because the following day after the first episode had aired, David and Dan sent me a YouTube link of a person in Belgium that did a rock cover of them. I want to say maybe we did not hear hints of them until episode 9. Especially in ‘Game Of Thrones,’ we treated the theme as something that we would not draw from until later episodes. But a main title theme, definitely what’s interesting about it is it’s a little compact moment all on its own. Is writing a theme different than writing the rest of a score?Ī: I wish I had a formula for it because it would make everything so much easier. We always laugh: They said, ‘No flutes, we don’t want any flutes.’ OK, no flutes. We would want to do something different.” ‘ For example, they said, ‘ “Lord Of Rings, amazing franchise, amazing score, but we are also in that fantasy, sort of medieval world. And from the beginning, they had an idea of what they didn’t want. They had a great vision and they were very collaborative. Q: How does it work to create the musical world for a new series?Ī: That’s where Dan and David were. They get into it, which for us on stage obviously eggs us on even more and makes it more fun. When they see something on screen, one of their favorite scenes or characters, they started yelling. Meaning, it was not where they are absolutely quiet and they wait until a piece ends and clap, and then they’re quiet again. People did come out and the audience also behaved accordingly. But actual lyrics? There’s only “The Rains of Castamere” and “Jenny of Oldstones” There are a bunch of choir pieces in there that have these Valyrian-inspired lyrics. But we had no idea if this was going to work at all. A lot of people showed up in costumes, Jon Snows and Daeneryses and all kinds of different characters. Q: How have people responded to these concerts? Do they show up in costumes from the show?Ī: They sure do. But there’s something very exciting about the connection with the audience that makes this so special. After I finished college, I stopped performing completely because of my job in the studio here. As a teenager, I was very active playing in bands and performing live. I thought, OK, let’s not make it just a local concert and see if we can take this out on the road. You’ve just got to put it out there.’Īnd I ran with that idea. They just said, ‘Ramin, we would love to see you perform this music live. What inspired you to do them in the first place?Ī: The idea came together in the studio with my showrunners, David Benioff and Dan Weiss, when we finished the last episode of Season 3. Q: It’s been six years since these concerts debuted. In an interview edited for length and clarity, Djawadi talked about the concert on Saturday and his life as part of the greater world of Westeros and the Seven Kingdoms.
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