Jeremy Soule Interview
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Q: The Elder Scrolls II: Daggerfall had a huge following, the music was all really eclectic sounding MIDI stuff, but people felt really strongly about the music in that game, very atmospheric. Were you intimidated by the popularity of the series or the music?
A: I knew it was a great game. I knew the fans were really hardcore about it. Anytime I come into a new existing franchise, I can tell you, I've read a lot of passionate emails about Fallout, and I'm not the composer for Fallout 3. It's funny, there's a bit of irony I think in every new project that comes along, but Todd Howard wanted to record in Moscow, and I knew they needed an orchestral score, and I also felt that the game was so huge that it needed 85 hours of music to cover it properly. The size of the game influenced my style because I knew the music would be heard over and over and over again. And so it was a very cautious decision. The minimalism that people describe in Morrowind and Oblivion was very intentional, and for me it was one of these things where I tried to paint in soft tones so the ear wouldn't get worn out playing the game for 100 hours.
