Olivier Deriviere

Hello there and welcome back to the Film Score Podcast.

Today my guest is Olivier Deriviere and yes, that was a more Americanized way of pronouncing it.

I tried to get Olivier to give me the real French version and as an American he just said, don't worry about it.

Now, you

might know Olivier Best from the three Plague Tale games, scoring the last two Dying Light games,

and

a number of other big video game projects.

He even scored an episode of Star Wars Visions recently.

Actually, his latest two were the third Dying Light, the third Plague Tale, both of which came out this year.

But this is a classic one where we start off talking about both of those, especially Plague Tale, which I think just came out... few weeks ago, early September, late August, and it marks a stark shift in the sound from the first two Plague Tales which take place in like Renaissance era France.

This, turning back the clock slightly, a couple decades earlier, taking place primarily in Greece and Crete.

So you have a very different sound, a more action-oriented game rather than being a bit more stealthy adventure-y.

so a lot of ways things change here and we touch on it a bit but it's one of those where both of us get distracted and really dive down a very specific and to me quite cerebral exercise cerebral discussion talking about the immersiveness of video game music how music in a game how technical it can become if you're really trying to make it that way, how it can be responding to everything the player does and getting into a really granular response, having all these what Olivier calls parameters that the music is reacting to, creating a really unique experience mirroring what the player's inputs are, what the player's doing.

One of those things that, for those not as big into games, you might have heard about Mick Gordon doing, I don't know, 15 years ago in the Doom games.

making it feel like the world of the game is responding to everything you're doing, driving you even further and further as the player.

Something that I find very fascinating.

Now, you can find out more about Olivier on his website and social media.

As always, you can do the same for me.

If you're enjoying the show, leave a rating, leave a review, comment, email me, whatever.

Yes, this one is coming out on a Monday, not a Sunday.

You're not crazy.

Just happened to be a fluke where the last week or so, very busy for me.

Did not have a chance to get this out yesterday morning.

Didn't really want to send it out at, you know... 10 p.m. Sunday night.

So here we are, Monday morning instead.

Just a one-off, though, so don't worry.

The world is not shifting and falling apart around us, at least through this podcast.

Now sit back and enjoy.

Hello there and welcome back to the Film Score Podcast.

Today my guest is Olivier Deriviere and yes, that was a more Americanized way of pronouncing it.

I tried to get Olivier to give me the real French version and as an American he just said, don't worry about it.

Now, you

might know Olivier Best from the three Plague Tale games, scoring the last two Dying Light games,

and

a number of other big video game projects.

He even scored an episode of Star Wars Visions recently.

Actually, his latest two were the third Dying Light, the third Plague Tale, both of which came out this year.

But this is a classic one where we start off talking about both of those, especially Plague Tale, which I think just came out... few weeks ago, early September, late August, and it marks a stark shift in the sound from the first two Plague Tales which take place in like Renaissance era France.

This, turning back the clock slightly, a couple decades earlier, taking place primarily in Greece and Crete.

So you have a very different sound, a more action-oriented game rather than being a bit more stealthy adventure-y.

so a lot of ways things change here and we touch on it a bit but it's one of those where both of us get distracted and really dive down a very specific and to me quite cerebral exercise cerebral discussion talking about the immersiveness of video game music how music in a game how technical it can become if you're really trying to make it that way, how it can be responding to everything the player does and getting into a really granular response, having all these what Olivier calls parameters that the music is reacting to, creating a really unique experience mirroring what the player's inputs are, what the player's doing.

One of those things that, for those not as big into games, you might have heard about Mick Gordon doing, I don't know, 15 years ago in the Doom games.

making it feel like the world of the game is responding to everything you're doing, driving you even further and further as the player.

Something that I find very fascinating.

Now, you can find out more about Olivier on his website and social media.

As always, you can do the same for me.

If you're enjoying the show, leave a rating, leave a review, comment, email me, whatever.

Yes, this one is coming out on a Monday, not a Sunday.

You're not crazy.

Just happened to be a fluke where the last week or so, very busy for me.

Did not have a chance to get this out yesterday morning.

Didn't really want to send it out at, you know... 10 p.m. Sunday night.

So here we are, Monday morning instead.

Just a one-off, though, so don't worry.

The world is not shifting and falling apart around us, at least through this podcast.

Now sit back and enjoy.