TAKESHI FURUKAWA: My initial contact with this project was

from Tommy Kikuchi over at Sony Music Publishing.

He had approached me

about submitting a demo for the game actually.

And I believe it was a number of composers who had submitted

demos for Ueda-san to listen to.

And I guess I had done something right

because I was chosen to be the composer for the game.

The reason why I chose Air Studio is for its acoustics.

It's known for a very lush and gorgeous sound

and for the London Symphony.

It's one of the best orchestras in the world.

Good morning, everyone. Thank you for being here.

I would definitely say the high point was stepping in front of

the orchestra and having that first note played.

It doesn't get better than that.

[MUSIC PLAYING]

I think we had about 92 players,

and that really brings the organic magic into the score

that you cannot get out of a digital instrument.

It has been challenging in the sense that the game Ueda-san has

made is so unique and very delicate.

It has a lot of heart.

When I first started thinking and conceptualizing the score,

the main thing was to try to isolate and minimize the amount

of elements that are going to go into the score.

For me the compositional process for the Last Guardian I think

was more like sculpting, trying to find the essence of the

score, and carving away or taking away.

It's actually a subtractive process.

The game is very, very unique and it's magical.

I've been laboring over the score to try to make sure it

doesn't pale in comparison to the wonderful visuals.

So I hope you enjoy the music as much as I did composing it.

[SCREECHING ROAR]