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Metal Gear Solid 2: Sons of Liberty In the early stages of creating, Hideo Kojima and producer Rika Muranaka initially wanted to hire Hans Zimmer to compose the music for the game.
In the article Game developerMuranaka talked about the time he spends mainly working on the synthetic soundtrack of the game and the fact that the budget for the sequel is so great that he can work harder on the audio design of the game.
“I went to Hans Zimmer’s studio, Media Ventures (now known as Remote Control Productions),” says Muranaka. “Originally I wanted to get Hans Zimmer, but he was like,’No, I can’t do that with that money.’ He’s very expensive and ridiculous.”
At this point Zimmer was no longer a viable option, so Kojima asked Muranaka to contact the English composer Harry Gregson Williams, who was working for Zimmer in the studio at the time. “He was still the next composer,” says Muranaka. “But he has done the enemy of the nation, so many people have begun to notice him.”
Have you played Metal Gear Solid 2: Sons of Liberty?
Gregson Williams, whose career in video games also includes work for the Call of Duty title, has accepted the position of working with Kojima on Metal Gear Solid 2-a choice that the composer didn’t know at the time. Begins A long-standing relationship between pairs that spans multiple future Metal Gear titles. But before working with the Sons of Liberty, Gregson Williams admits he wasn’t really thinking about stepping into the world of video games.
“I wasn’t thinking about playing video games at all,” Gregson-Williams tells game developers. “There was no precedent, as many filmmakers don’t think it was at the time. If Hideo himself didn’t get close to me, he wouldn’t necessarily want it. […] At that time, I was taking care of Hans Zimmer. He wasn’t negative about it, but he said, “Be careful, you’re here to pave the way for becoming a film score composer.”
Screen-Metal Gear Solid 2: Son of Liberty HD
For Gregson-Williams, the transition to composing music for games will present some new challenges. For one thing, he wouldn’t have been able to rely on using already shot footage to direct the music he was making.
“I start the week with an email from him,’Do you think you can send me a 30-second sneaky thing?'” Says Gregson-Williams. “And I send it back. -And this had to be done through a translator-“Sneaky? What sneaky?”
“He would say,’Imagine you’re being watched in this case, but you don’t know that.'” So I say, “Very downtempo, tense and spare.” Would, and he would be like “Yeah.” We made our own pictures of what I’m doing. He clearly knew how to translate this music into the game. But I didn’t know. “
The music for Metal Gear Solid 2 was born in collaboration with Gregson Williams, Muranaka, and Konami’s in-house sound team (especially composer Norihiko Hibino). Sure, it’s far from a stand-alone effort, but it’s interesting to think about how different the tone of the game would have been if Zimmer was in command.
In other Hans Zimmer news, the composer recently created the soundtrack for Dune’s next companion book. The art book that accompanies Denis Villeneuve’s next sci-fi blockbuster, named Art and Soul of Dune, is clearly so huge that Zimmer actually recorded a whole new soundtrack. Available in two different variations, fans can buy the regular version of The Art and Soul of Dune at a suggested retail price of $ 50, or the much more expensive deluxe version for $ 595.
Promotional images of dunes art and soul books
Jared Moore is a freelance writer for IGN.You can follow him twitter..
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