Well,

that's a whole other subject, but we can talk about what you first asked about.

And that is, I mean...

In the game industry, rights are generally held not by the composer, but by the company that commissioned the work.

Music is a work for hire.

And that works differently than it does in the film industry.

Mainly just because that's how the game industry developed and game companies need to have absolute control over how they use the materials that they create for their titles.

What goes into your commissioning a composer for your games, the physical process, kind of like what Jason's doing, putting it out on platforms?

And so when you get one of these scores finished, it's it's you need a lot of understanding on all sides to get it there

john have you ever uh felt i don't know if it would be appropriate but i mean since you've clearly had to like say hey trust me like this is gonna be okay or like don't don't worry about it and um if you're able to get over that hump and then record something as you intended and then of course everyone's like oh i see it now have you ever like just shown them something like say a mock-up from like Kingdom or from, you know, Spider-Man or something where you had to do the mock-up first and then record it and be like, look, this is exactly what I'm talking about.

you know um they weren't the most technically involved but they were they just had all the heart and and emotion those are the cues people coming back to so as a composer you're like really putting all this importance on this cue that you think is incredible but the audience might just be like they they listen the first 10 seconds like action music moving on you know i mean like they don't even it's it's just it's a different desire so it's hard for a composer to like pick those trying to figure out what the audience is going to appreciate and what they're not going to um and then there's just the whole like i told you the whole experience of just trying to make it a tight package without a lot of fat in it so so you can kind of get them to the places you want them to you you can point them to the areas you really want them to hear and and maybe not get you know sucked into uh just a cacophony of tons of functional film music that may not be as important so

it's tricky Hans Zimmer has that Man of Steel sketchbook track on his Man of Steel album.

I mean, that's that suite, that toolbox that he created.

And you can find bits and pieces of that iteratively throughout the entire work.

i thought it was really cool that he included that because it's it's you know the production value is still quite good but you can hear where it's just sort of like it was just a small step you know a half step down from that final result what is your temptation have you ever been have you ever wanted to include one of your suites on an album