A Black Falcon
Member
This is from over a month ago, but as far as I know it hasn't been posted here before. Correct me if I'm wrong.
Anyway, it's a very, very interesting interview for any Fallout, Planescape, Interplay, etc, game fans. 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, love, and thought had great music. I had no idea that the same guy did Torment and NetStorm... but now it seems so obvious! The music in the two games (as well as Fallout, though that is a bit more different) is really, really similar atmospheric stuff... how did I never really notice that in all those years? He did some others as well. Anyway, it's an interesting interview.
http://www.en.game-ost.ru/articles.php?id=24&action=view
Just posting a few chunks. It has lots of text and pictures and really should be read in its original form.
Mark Morgan's website, as linked in the interview, is also now live...
http://www.markmorganmusic.com/
Anyway, it's a very, very interesting interview for any Fallout, Planescape, Interplay, etc, game fans. 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, love, and thought had great music. I had no idea that the same guy did Torment and NetStorm... but now it seems so obvious! The music in the two games (as well as Fallout, though that is a bit more different) is really, really similar atmospheric stuff... how did I never really notice that in all those years? He did some others as well. Anyway, it's an interesting interview.
http://www.en.game-ost.ru/articles.php?id=24&action=view
Just posting a few chunks. It has lots of text and pictures and really should be read in its original form.
G-OST: During our investigation we searched the web for your interviews, but couldnt find any. In the same time youre 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 didnt. It wasnt 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 didnt know what to expect. I didnt want to rule people s minds but maybe manipulate a little.
G-OST: Therere rumors that you had only a couple of weeks to create music for Planescape: Torment. Is that so? Then were 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 your 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 dont 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? Its a fact that back then games had limited space for music and were 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 dont 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 wasnt 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 Fallouts Followers 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 theres 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 wasnt 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.
G-OST: Bethesda Softworks currently developing Fallout 3 keeps silence regarding main composers name. Atmosphere goes really hot around this. Its even been rumors that Jeremy Soule is in charge, what caused hard civil commotion, but then he announced that hes out of game. Most of people, including us (we can be fired saying this) believe that youre ideal and only person to take over this position. Additionally, investigators found out that your profile at www.gsamusic.com contains Fallout 3 reference. Its 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. Im 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 www.gsamusic site, its 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 Marks 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 Gabriels 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? Havent 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 youve brought this to my attention, it would be exciting to be involved with the new game.
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 dont 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.
Mark Morgan's website, as linked in the interview, is also now live...
http://www.markmorganmusic.com/