Pedro Bromfman Interview (Composer for Far Cry 6)
Photo Credit: Sari Thayer
Pedro Bromfman might be a new name in the world of video game music, but this Brazilian composer has been making waves in the world of film and television for years. If you’ve played Far Cry 6, then you’ve already been treated to his unique musical perspective, and after just a few hours with the game, I had to know more about this composer and his background.
Given your background with composing for film and television, what made you want to pursue composing for video games?
I’ve never actually pursued composing for video games. I was invited to work on the games I have because of previous projects I had done. I’ve done two video games back-to-back over the past 3 years (Need for Speed Heat and Far Cry 6), and I’ve had such amazing experiences, I find myself bugging my agents and actively pursuing my next video game project now.
How did your experiences with Max Payne 3 and Need for Speed Heat inform the production process for this video game soundtrack?
The mechanics of composing music for games can be quite different from scoring for films/TV. The cinematic part is very similar, but when we’re talking about missions and the open world, music has to function very differently than on an edited film or episode. That’s the main advantage of having previous experiences working in games. You learn how to compose and deliver music tailored for their needs.
Did you have any role in choosing the other music that accompanied the game (e.g. tracks from Pitbull, etc.)
No, that was all with Ubisoft Music and Eduardo Vaisman, the audio director.
Did Omar or Alexandre (the game directors) give you any specific instructions for creating the soundtrack for Far Cry 6?
I was primarily dealing with Eduardo Vaisman, the audio director for Far Cry 6, and Navid Khavari, the narrative director. We’d have extensive conversations with Eduardo about instrumentation and styles, i.e. how to differentiate the regions of Yara with my music, etc. From there, it was up to me to find the sounds in my studio.
Having said all of this, I have interacted with Omar a few times throughout the process, and he’s been one of the most passionate people when it comes to my music. He loves what we came up with for Far Cry 6, and it’s very fulfilling for a composer to hear that!
Photo Credit: Sari Thayer
Were there specific gameplay moments or scenarios that excited you before you started composing?
I was brought in so early in the process that I didn’t really know what to expect or what was coming around the corner. I composed as we went along and as missions were being worked on and completed. Coming from the film world, I still have a soft spot for scoring cinematics and having complete control as to how the music will play in a scene, something that doesn’t happen in missions. For that reason, I can say scoring all of the cinematics was probably my favorite part of the job.
I've only been able to play a few hours of the game myself, but I've noticed that music plays an integral role in setting the tone. For example, "Libertad" plays over a series of cutscenes very reminiscent of James Bond. Was that your intent?
“Libertad” was written early on as a theme for the revolution taking place in Yara. When they brought Patrick Clair along to design the opening sequence/title credits, he asked what they were thinking as far as music, and everyone thought “Libertad” should score that sequence. It turned out great; the visuals are so special!!
Can I also say that I love the music that plays during photo mode? I don't know why more video games haven't tapped into that idea (creating music for more calm moments), but it made it that much more fun to document my adventure.
Yes, that music is part of a few tracks created by Hilario Duran for the game. He composed 6 or 7 short pieces to be performed by small groups in traditional Cuban styles.
Also, whatever music plays during Fire and Fury really surprised me. It took a very tense moment where players had to clear a base and turned it into a fun, frenetic battle.
That scene was a cover of a traditional song called “Bella Ciao.” Again, it was Eduardo’s idea, and it was recorded by musicians under the banner La Sonora Yarana
I look forward to playing more of the game and discovering more of the soundtrack, for sure. What were some of your favorite tracks, and what were some of the hardest moments to compose for?
I’d say finding the initial sounds and themes are always the hardest part of the job. You’re trying to come up with how this island and their people should sound to the players. “Viva Clara” and “Antón” were both created very early on based on rough sketches of these main characters in the game. They really established the sound of these characters and are probably my favorite pieces in the game.
What are the biggest differences between composing for film and / or movies versus video games?
I feel I’ve touched on this in your previous questions. The main difference is when scoring missions. A player can go through a mission in 4 minutes while another player may take 15 minutes.
How do you keep that music sounding interesting? How do you keep the player engaged throughout that time. We’re creating loopable pieces that have to vary in intensity, while introducing new elements to keep them fresh. It’s a much different way of working than scoring a scene and knowing it will always last the same amount of time and will always play that same way.
Do you expect you will continue to compose more video game soundtracks?
I’d love to; I’ve had a blast and will continue to work on them as long as audio directors will have me.
Who is your favorite Far Cry 6 amigo?
I have a soft spot for Chorizo. I am a dog lover, and Chorizo was introduced in one of the first cinematics I’ve scored for Far Cry 6. He has my vote!
Photo Credit: Daniela Scaramuzza
Born and raised in Rio de Janeiro, Pedro Bromfman has been writing, playing and producing ‘Music For Images’ for nearly twenty years. A graduate of Berklee College of Music, Pedro has worked as a session musician, music producer and arranger, before his passion for film scores brought him to Los Angeles.
Pedro Bromfman has been awarded two Gold Medals for Excellence in Film Music at the Park City Film Music Festival, an ASCAP Award, a Guarani Award for best original score, nominated for two Cinema Brazil Grand Prizes (Brazilian Oscars), a Hollywood Music in Media Award, an ACIE Award and a Premio Contigo! De Cinema.