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How can I write crazier Williams-style action cues?

swinkler said:
I agree and disagree. I do think while one is actually composing it is to a large extent 'by ear' or feeling. But I would argue the one who's studied music theory (traditional and non-traditional) and is familiar with a lot of the literature (traditional and non-traditional) will be quicker to write what their ear hears or what they feel because of that previous study. That's all I'm saying.
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And I agree with you, thus also agreeing and disagreeing with @handz :)
I too believe composition is a three-fold process: feel, that you can tie to an emotional level; improvisation, even with pencil and paper, but on a systematic and permanently analyzed form; and intelectual, where you make use of all the tools and devices theory, in all its forms, has given you. If I could reorder in some kind of chronological way, I guess intelect and feel would come up first, leading to the creative process of the actual composition.
 
KEM said:
You don’t even have a clue how well trained Göransson is but ok kid, go off I guess
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With all due respect, it really doesn't matter how well trained someone is, the actual output is what matters. I'm only commenting on your post, and not about anyone's work, I don't even know enough of Goransson's work to make any remark.
 
On a side note, I heard recently that Jurassic Park took JW a mind-blowing MONTH to complete! Only a month! It's really staggering!
 
jeremyr said:
A few things to consider:

Sakuraba comes from that generation of 90s RPG composers who were largely influenced by progressive rock. Prog rock has a lot in common with 20th century classical music in terms of the "randomness" or just general "busy-ness" in the composition.

The "gothic horror" Dark Souls sound likely originates in soundtracks such as Goldsmith's The Omen and Kilar's Dracula. On the Japanese side I find the Dark Souls soundtracks somewhat similar to
Yoshihisa Hirano's style of orchestration, especially the brass parts. I recommend checking out the Death Note OST if you're interested. Also have to mention Hayato Matsuo's Hellsing Ultimate OST when talking about gothic horror.

The last thing is that a lot of Japanese soundtracks are heavily melodic and song-like. Rather than composing from a music theory standpoint, you could try writing a song then "corrupt" it by throwing in wrong harmonies and hitting the wrong notes. A good example of this is Schnittke's Concerto Grosso No. 1 which begins with a corrupted lullaby and later you hear a corrupted tango.
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Hello jeremyr. I know Goldsmith's work on The Omen, but I don't know anything about Hirano and Matsuo (even after having watched the Death Note OVAs). I'm definitely going to give them a few listens, thanks so much for the recommendations.
 
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