EDGE - - THE MAKING OF... - Haden Black­man Cre­ative di­rec­tor

How did you de­cide on the sound­track?

For months we lis­tened to ’60s mu­sic as we were do­ing other work. That gave us a mas­sive list of pos­si­ble songs. We also checked the Bill­board Top 100 for ev­ery year from 1955 to 1969. Then we sat down and started fig­ur­ing out which were the must-haves and fig­ured out what we could af­ford, what we could li­cense, and who’d be will­ing to work with us.

Sound design seems like it was a ma­jor fo­cus – how did you source the voice actors?

We put to­gether ref­er­ence pho­tos for who we would cast if we could have anyone in the world, and sent those out to agen­cies, which came back with a list of pos­si­ble can­di­dates. The scenes we wrote for au­di­tions, how­ever, weren’t al­ways de­signed for the game. They were writ­ten to push lots of dif­fer­ent emo­tions, so we could see the ac­tor’s range. As for who we cast, first and fore­most, they had to be good actors, but they also had to look the part. 2K’s mo­tion-cap­ture stu­dio is hands-down the best in its class, so we wanted to do full fa­cial and body scans. How­ever, we were able to work a lit­tle around the actors. Alex Her­nan­dez, for ex­am­ple, who plays Lin­coln, has a great voice, is a great ac­tor and sounds the part, and when we saw his face we knew we would use him for Lin­coln. But he’s not as tall or broad as Lin­coln, so we got an­other ac­tor, an MMA fighter, to do the phys­i­cal body work.

How did that process af­fect the game’s story?

We mod­i­fied the di­a­logue on set with the actors – all the ex­changes be­tween Dono­van and Lin­coln were writ­ten on the fly, once the two actors had a rap­port. It wasn’t un­til the game shipped that we fin­ished all the writ­ing.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.