The beauty of television is that you can develop ideas over long periods of time and tie moments together over a much bigger space of time than in a film. I didn't want to throw modern elements just for the sake of trying to be modern.Īcree: Another tough question! There are so many little musical Easter eggs that I'm looking forward to seeing if people catch. I wanted to challenge the conventions of the genre but in the most organic way possible. I wanted to incorporate a lot of interesting world instruments to give it a sense of time and place but I also felt the scope of the story deserved a sweeping orchestral score. I wanted it to capture the excitement I felt while watching Saturday morning cartoons as a kid but without sounding retro. Given that Critical Role is a very fantasy-oriented show, how do you balance the epic scores that fantasy series are known for with the modern sensibilities of the show?Īcree: You know, before I even started writing I had a lot of preconceived ideas as to what I wanted the score to be. ![]() You mentioned that you pulled from a variety of different musical genres and styles when creating themes for the various characters and places. On top of that there is live orchestra in every episode, lots of music to write, record and mix and it all has to get done on a fast paced television schedule. ![]() There is so much packed into every episode, everything from comedy to action to suspense and horror, sometimes all in the same scene! Navigating that and finding a cohesive thread that ties it all together is always a fine line. Acree: The things that make the show so great are also among the things that make it challenging as a composer but I love a good challenge.
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