Score composers have a huge role to play in intensifying and amplifying the emotion of most of our epic viewing experiences, but rarely do they explode a fire behind their heads while plugging in a real amplifier and rocking a field. Enter Ramin Jajawadi, Who did just that in his time Game of Thrones live concert experience, Which has a huge orchestra, huge screens, and wild effects to bring to life Music composed by him Favorite series’ for eight seasons.
The last cycle of the tour will begin on September 6 in Toronto, and this time will visit the amphitheaters. May be a small stage I think so Like a barrier to outdoor production, but the open air brings a whole new set of possibilities for a show that involves dragons. Djawadi’s concert is all about finding exciting creative ways, and he’s doing it basically with classical music. We caught up with her to find out what kind of opportunities these live performances open up for both her and the audience.
Game of Thrones Live concert experience photo by Ralph Lerman
Spotify for Artists: Game of Thrones There are over-enthusiastic fans. Of course they would hold lines around the block to listen to this music if it was a concert. Why not display scores in a more traditional theatrical environment?
Ramin Jajawadi: When we were planning the first trip, I felt compelled to try something different because of the nature of the show. There are dragons in the series – let’s shoot pyro! When we are north of the wall there is ice – let’s imitate ice! Let’s make it a more immersive experience, push it a bit more towards rock-concerts and make it open to all kinds of fans and concerts. It was the idea, to make it more fun. But this music has something to say to a traditional theatrical orchestral concert, so at some point I’ll probably do it too. Again, it comes back to trying different things. The arena, the amphitheater, the concert hall … they all offer unique experiences.
What was your wildest idea that turned into reality?
One of my favorite moments was when we pulled the violinist into the air and he became a weed tree. Funny thing is, I asked him, “Are you afraid of heights?” And he said, “Yeah … why?” And I didn’t even think about the fact that the way you stand affects your game. But he agreed [to it] And there he was, free-floating, alone in the air. My creativity went wild. I was just playing with pictures and really, what kept me behind was the budget and yard limitations. It was fun to throw it all out there and see what we could actually do.
Why was it important for you to experience your work live?
I was on the band before becoming a film composer, and there’s something special about recording vs. playing. Live, has instant connection with viewers. I miss it when I start scoring goals. And then put everything together on this show. The idea of having a concert started with the showrunners. That idea turned into a tour. Then: “Let’s bring it to Europe.” Now we’re doing it under an open sky. Having a scoring career and being able to play live … it’s incredible.
What do fans get from a real life event that they don’t see on the show?
Seeing musicians score makes a huge difference. I experience this with filmmakers whenever I do a project, where we start with these synth demo mockups, which I play with them for months while writing scores. But when we get up on the physical scoring stage and when they get to see the pieces played by real musicians, it becomes a lot more emotional and emotional. The same thing happened at the live concert. In our case, we show the footage, so you’ll see your favorite scenes with the musicians instead of just listening to the recording. It really puts emotion at the forefront. This is the power of live play. It’s incredible.
How did you get into storytelling for the two-and-a-half hour concert experience?
It’s such a big world, so we try to go one step further and see if we’re capturing it. It’s not just balancing the story, themes and characters – the ups and downs are also important, so we move from the big epic action pieces to the lonely moments. There are always some funny things happening. It’s important to us that die-hard fans get all their highlights, while those who haven’t seen the show can come out, enjoy the concert and get a perfect crash course.
How important is world-building in creating art-culture? That is, going beyond the original medium of something, or immersing fans in something like this.
That’s a great thing. If it’s a show or a movie where emotion is felt even after the screen closes or you leave the theater, people want to revive that feeling. And access is certainly much faster. If you watch a show you can immediately go online and track the score. It’s great to see music with its own life and I would definitely encourage other composers to give concerts if they feel right for any stage or setting project. The interest is there.
Do you have any advice for bands or artists who don’t have a multi-billion dollar budget but still want to enhance their live game?
There are definitely some ways to do this that don’t involve a huge budget. When I was in Boston, I was in a band that did all sorts of things on stage to mix it up – I remember one time we had all our equipment and amps covered in white fur. So I guess what sets you apart from other artists, and what is your music and what is your show is to be true and just be creative.
– Chris Martins