Just Dany arriving at Dragonstone, that was a five-minute scene with no dialogue at all - just her touching the sand. There’s a lot of really great and emotional scenes coming up. Whenever I think that isn’t possible, then I see the material. What I really love is that every season, it kicks things up another level. In the premiere, we’re seeing snowscapes in places that were lush and green before… Once you started settling into season seven, what were your thoughts on what this year of Thrones needed to sound like? For instance, winter is here. Writing season seven, I was very inspired of now seeing where it’s going and pushing further with the melodies and new themes. I was just as excited as all of the fans in the audience about playing the current music we had and looking at the current scenes, and then every night saying, “OK, everyone get ready for season seven.” That included myself. On the tour, I didn’t know what season seven would bring us. I only get to see it a little bit earlier than everyone.
I was just as excited as everybody else to see what season seven will bring us. It was so great to be on that stage and really feel that response from the audience.ĭid the experience of taking your music out on the road, and getting that live feedback, fuel the work you’ve come up with for this season?ĭefinitely. We wanted the audience to relive the whole experience and feel like they were in Westeros. We had pyro and fire for the dragons, and we created snow, and we had Weirwood trees…it was very visual. It wasn’t “just the music,” we had the visuals and we took it even further. We did it in a way that it was a very immersive experience. We sort of stayed in chronological order and played through the most iconic pieces of scenes from the show.
It would have been the perfect preparation for season seven, because it’s really a large recap of all six seasons. For those who weren’t able to attend, what would they have experienced? CitiesĮven before the premiere this past week, you had taken the show on the road before, in the form of the Game of Thrones Live Concert Experience.
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'Game of Thrones' Concert Series Coming to 28 U.S.
We have to make this work.” And I loved them so much and the show so much that I said to myself, “Okay, you’re not going to sleep for three months.” We just dove into it, and here we are: season seven. A few phone calls later, they said, “Come on, Ramin. I realized that the scope of the show was so big and I didn’t know if I had enough time to make it happen. It’s pretty much exactly what they said: I saw the episodes, I was blown away by it, I met with them, and I was really busy at the time already. He also weighed in on how he first became involved with Thrones, how the live concert experiences fuel his creativity, his thoughts on the Westworldnomination and the series at large as it approaches season two, and the newest project on his docket, a film called The Mountain Between Us, which has tragically little to do with Gregor Clegane.Īt the premiere last week, in introducing you to the stage, David Benioff and Dan Weiss told their story about how you came to work on Game of Thrones. Here’s what Djawadi told THRabout the winds and sounds of winter set to hit the air in the season ahead, beginning with his score for Dany’s dialogue-free Dragonstone homecoming. During this time, as he was revisiting Westeros‘ past, he was also bracing for its future: work on composing new music for season seven was at hand, and remains at hand, as Djawadi is still working on the score for the final few episodes. Earlier this year, he embarked on a live concert tour that showcased the Game of Thrones score, touring cities across the country. Inside the 'Game of Thrones' Season 7 Premiere as HBO Brings Winter to Downtown L.A.īut it was far from the first time Djawadi brought music from the Seven Kingdoms to a live audience.
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