Recently, I had the pleasure of speaking with (2x) Grammy-nominated composer Austin Wintory about his Grammy-nominated soundtrack for Aliens: Fireteam Elite. As a fan of the original two films, I wondered how much inspiration he drew from the original composers, Jerry Goldsmith and James Horner. Read on to see how Austin drew inspiration from modern sources as well as the classics.

What drew you to this specific soundtrack?

I’m a long-time fan of the franchise, so when someone internally at Fox (now Disney!) thought I may be a great fit, they very graciously introduced me to the game’s developer Cold Iron. It was instant chemistry. We shared the same exact goal of simultaneously paying homage to the prior entries of the franchise, while also trying to add something unique of our own.

What is your favorite Alien film?

That’s so difficult, but I think it's probably the original. There’s something about the creeping dread of first that I find just intoxicating. 

How much did you draw from pre-existing Aliens music (film and games)?

The score is loaded with references, sort of like Easter Eggs, to both Goldsmith’s and Horner’s scores. But it’s meant to be suggestive, never anything literal. This way it feels like an Alien score, but it’s never actually derivative. Also, this is a strategy we leaned on for the first campaign above all, so that as the story progresses, we can get increasingly unique / separate in our approach. 

Did you receive any special instructions for composing this OST?

Honestly, not especially. Cold Iron and Fox/Disney were immensely trusting. We established that we were all on the same page pretty immediately, and so, after that it was just simply a matter of getting the work done. We never had any big brick wall moments requiring a course correction. 

What were some unique challenges with composing this OST?

Balancing the nostalgia of a beloved, long-running franchise with the need to make something unique and modern was for sure our biggest challenge. Also, it didn’t help that we finished the core game’s score about midway through the pandemic, and that always adds complications. In the end, I feel we managed a pretty good balance of music that feels rooted in Goldsmith / Horner while also pushing ahead.

This soundtrack incorporates a lot of electronic elements. Were there any composers or musicians that you drew inspiration from?

Beyond the pair I keep mentioning, I wouldn’t say so specifically. My use of electronics is something I broadly draw lots of inspirations from. From the textural classics of Vangelis, all manner of pop producers throughout the ages like Quincy Jones and innumerable hip hop producers, to contemporaries like John Powell and Ludwig Göransson. The integration of electronics with acoustic elements (be they orchestral or a single guitar or anything else) is something I absolutely love toying with.

How would you compare this OST to other horror/action game soundtracks?

I’m not sure! Hopefully it holds up!

How important was crafting the main theme for you? (da-da-daaaa-daaaa)

Extremely! Nothing can set the tone like a central theme that acts as a kind of musical summary. In this case, I wanted it to feel creatively adjacent to Goldsmith’s (largely unused!) original and all things considered, that was pretty easy to find. And happily, Cold Iron loved it and so off we went!

What do you want players to feel as they listen to this OST?

Adrenaline! 

Have you played the game at all? Any favorite moments?

I played the game endlessly during development, mostly with the Audio Director Derrick Reyes. We would team up to test implementation on music and sound design nearly weekly for several years. I then played quite a lot after it came out. My girlfriend especially got into it, so we would play together. Hard to pick a favorite moment, but I love the standoff moments, like when “Monika” shows up.

Who are some of your favorite composers right now (film, game, TV)?

There are many! John Powell and Ludwig Göransson I already mentioned. Dan Pemberton is also among the finest working today. My friend Bear McCreary continues to absolutely dominate the TV world and has the new God of War coming out, which I’m sure will be superb. Natalie Holt blew me away with Loki. Composers like Lena Raine, Joe Trapanese, Jongnic Bontemps, Chad Cannon, Michael Abels…there are so many! 

What is the significance of having a Grammy for video game music?

We shall see! If nothing else, it’s a lovely feeling voting for my friends and colleagues for their excellent work, knowing that some subset of them will absolutely get nominated! 

If you enjoyed this interview, consider listening to the following podcast below!

Two-time Grammy-nominated and two-time BAFTA-winning composer Austin Wintory has had a career straddling film, video games and the stage. He has scored over 50 features, including several Sundance hits (Grace, Captain Abu Raed), and over 30 games, netting him 7 BAFTA nominations, 2 wins of the peer-voted ASCAP Composer's Choice Awards, and a slew of other industry accolades.

His work, ranging from intimate indies like JOURNEY to massive blockbusters like ALIENS: FIRETEAM ELITE and ASSASSIN'S CREED, is often noted for its unique perspective and unusual approach. Austin's scores frequently employ the use of experimental ensembles and recording techniques, merged with distinctive solo musicians from around the globe. Many of his game scores have enjoyed success in concert upon release, with performances all over the world including a recent presentation of his music before an audience of nearly 15,000 in Krakow, Poland and performance by the Royal Philharmonic at Royal Albert Hall in London as part of the first-ever BBC Gaming Proms concert. Austin's most recent feature films include BULLET HEAD starring Adrien Brody and John Malkovich, Burt Reynolds' final film, THE LAST MOVIE STAR, Ross McCall's acclaimed prison drama A VIOLENT MAN, and Netflix's limited series THAI CAVE RESCUE.