What do you consider the highlight of your composing career, aside from all the possible music awards and Floex achievements?
#Samorost 3 hype license
They always pay a lump sum and thus buy the exclusive license and all rights to your music. That can't happen with mainstream studios. It's risky, but it's also a fair deal that can pay off in the end if the game is successful. For indie developers, there's a chance to negotiate a cut of sales. Interestingly, there's a similar difference in that area as there is in artistic music. Now that you mention it, just out of curiosity, what are the royalties for international video game music? I don't feel any pressures in my artistic work, except perhaps the fact that one has to carefully distribute one's energy between collaborating on projects and creating. I'm very lucky that the projects I work on are profitable, but they're still primarily beautiful and a pleasure to work on. So game and film soundtracks are the main part of your creative work that you make your living with? I believe in my own path and style, through which I am approached by partners who want to collaborate on more original projects. Honestly, I don't think I am strong at that. Fortunately, I rarely do music for commercials now. Unfortunately, we never got past the negotiation phase and the production of the demo recording.ĭo you also create music for any brands or commercial entities? I had meetings with Sony and Microsoft, for example. However, I also communicated with the world's biggest studios. Which studios impressed you enough to connect with them?īesides Amanita Design, I've been working on a new game with Polish developer Thomasz Ostafin called Papetura, which was released last May. I'm quite picky about this, though, because Amanita has set the bar really high for me. The proof is that other foreign studios, whether independent or mainstream, are also contacting me. Has this cooperation opened many doors for you? Thanks to these projects, I have established myself on the international scene of composers in this field. Together we have created a number of titles. The main one is, of course, the long-term cooperation with the Czech studio Amanita Design. The most important area is definitely computer game soundtracks. So I kind of returned to the beginning.Īpart from your solo work, what projects with international overlap have you been involved in recently? Those that fall into that category, I'll keep under the pseudonym Floex. Last year, I decided to publish things that somehow stand out under my stage name. So what solution did you eventually arrive at? Unfortunately, this can't be controlled-in the streaming environment, it's hard to choose a selection of songs that the artist feels best defines their work. Especially abroad, my music is often presented through them.
Sure, for example, we've been promoted at international festivals with a slightly wacky game soundtrack. Have you ever experienced the influence of digital algorithms at concerts? It may seem trivial, but Spotify in particular has a huge influence here. At the top, there is still hanging one song from the Samorost 3 soundtrack, which I'd describe as a country music bedtime story thing.
But nowadays, I deal with it mostly because of Spotify and the ordering of songs by popularity, a feature that can't be changed. And soundtracks sometimes get very playful or childish. But I actually kind of regret that today.įloex is more tightly locked into deeper music. Later on, I tried to merge everything under Floex, because sometimes people didn't know both names or didn't understand that it was a different project by a similar artist. I had a period when I strictly kept them apart because I felt that my original work was quite different from my soundtracks. I think I'll be separating the two until the end of my career. That's a complicated question that must seem a bit confusing to an outside observer. Do you feel that these are two identities that have gradually grown into one? At various stages of your career, you signed your soundtracks as Tomáš Dvořák, and at other times as Floex.
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