It just became a cool hybrid with orchestra and guitars. Then, actually, during the process we discovered that the guitars were working really well so we added more of them. He also actually said from the beginning that he was interested in guitars and he wanted to utilise that twang. Guillermo and I met on the set and we had lots of conversations about the approach. With Pacific Rim, I actually started very early. I want to do more rock and roll.” He thought of Tony Stark as being this rock star type, so I thought that was a great approach. I want to do something completely different, instead of going down the orchestral route. And the guitars on that one, actually I have to give Jon Favreau credit, because when we met his first thing was, “Okay, there’s Spider-man, Batman and all these superhero movies. In the case of Iron Man, the film was already shot by the time I was brought on. Do you start coming up with ideas before you’ve seen any of the film? When you come to a project like Pacific Rim or Iron Man, it must be difficult to come in without preconceptions about the genre. And, yeah, like you mentioned with Iron Man and also Pacific Rim, it’s interesting that every time I do something with robots, it kind of ends up using a rock style, but it felt like it was the appropriate thing to do. There are certain liberties you can take so there are some synth elements, but it’s mostly all done in an organic way that’s right for the show. Stylistically we were searching for something that just felt right for this fantasy world, so what we ended up with was, as you said, very organic, it still has a modern touch to it, so we didn’t try to be necessarily ‘medieval’ or whatever you want to call it, because it is a fantasy world. What’s interesting is people have not so much tried to imitate what I do, but do their own thing with it.ĭefinitely, yeah. I love how creative out there are, doing their own versions of it. It’s now available in every kind of version, from techno to solo harmonica instruments and things like that. Yeah, it’s absolutely flattering to see that and I love how creative people are. What’s it like to see your work embraced like that? The Game Of Thrones theme achieved an iconic status all of its own now, hasn’t it? You only need to kind of put your name into YouTube and you’ll find hundreds of videos with hundreds of thousands of views. With a wildly diverse discography to his name, including work on Prison Break, Pacific Rim and the Grammy-nominated score for Iron Man, I recently had the chance to chat to him about a body of work that continues to push boundaries. Having worked with the likes of Hans Zimmer, RZA and, most recently, Tom Morello, Djawadi has spent the past decade carving a reputation as one of the most dependable composing talents in the business. Composer Ramin Djawadi has been described by Game of Thrones’ creators as one of the show’s unsung heroes, but that’s far from the only thing he’s known for.

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