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Saying goodbye to “Game of Thrones” meant different things to everyone involved in making the show. As Season 8 drew to a close, composer Ramin Djawadi had a number of unique opportunities to bring his decade on the show full-circle.
The Season 8 soundtrack is a bit of a first for Djawadi, who chose to arrange the cues from the show’s final six episodes in chronological order, following the gradual reintroduction of themes from across “Game of Thrones” history. As Djawadi told IndieWire, all of that culminates in the final episode, which bids farewell to a number of characters using music that’s marked their respective journeys.
Brienne - End - Things - Book - Jaime
“When you see Brienne at the end, and she’s writing things down in the book about Jaime, I’m using the Honor theme, which had developed over the seasons for the two of them and their relationship,” Djawadi said. “Of course, the Stark theme got used a lot, especially in that ending montage. But there’s even some of the subthemes that might not be as obvious. As Grey Worm sets out to sail away to the Island of Naath, the Grey Worm/Missandei love theme plays to show what he’s thinking about her and he’s going there because of her. Whenever I could, I would place themes that are in connection with the characters.”
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People - Piano - Feel - Djawadi - Centerpiece
Few people have made a single piano feel as threatening as Djawadi has. The centerpiece of one of the landmark “Game of Thrones” sequences at the close of Season 6, “The Light of the Seven,” built from a simple piano line to one of the more dramatic turns in the show’s trajectory. It was the first time that Djawadi had used the instrument for “Game of Thrones.” For Season 8’s landmark Battle of Winterfell...
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