Salchow: Yes, of course. I always have ideas right away – it kind of happens automatically when I am watching films or movies – or even when I drive around in my car actually. But there is always also hard work involved because sometimes your initial idea is great for a specific scene but needs to be adjusted to work in the context of the big, overarching storytelling.
ADG: Was it your first time working with Insomniac?
Salchow: I have worked with them on two of the Resistance games and also on Ratchet & Clank: A Crack In Time.
ADG: Did Insomniac have any types of emotions or themes they wanted to make sure players felt when they watched the cinematics in Sunset Overdrive?
Salchow: Yes, there were a lot of areas where they had a clear idea already of the musical style and the emotion we should cater to the player.
ADG: What is your favorite track of the music you composed for Sunset Overdrive and why?
Salchow: I have a couple of favorites. I really like the music in the last 2 or 3 cinematics, which close the story – or actually keep it open in a way. And then there is a bard song in the middle of the game which I had a lot of fun recording.
ADG: Would you say Sunset Overdrive is one of your favorite projects to date?
Salchow: All my projects are my favorite projects. This one definitely was one of the most fun titles to work on because of the type of music and the outside the box storytelling.
ADG: Any game properties out there you would like to work on in the future in particular?
Salchow: Yes, there are actually a few out there where I think I could bring something new to their IP. I’m especially drawn to composing for a strong narrative so I would say anything with a good story and interesting characters.
I have to say great words of inspiration and workmanship from Boris Salchow. I also would like to thank him and wish him the best in his future work and endeavors.