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Hi Geoff! Thanks for keeping the spirit of E3 alive during this crazy time. I was just wondering, how difficult was it to convince developers to take part in this event? Were studios eager to have an event to show off their projects? Thanks again!

Hey Rick! Love all of your work, especially the Before trilogy. How did you find your craft in creating dialogue for your films? Many struggle in creating authentic conversation in their scripts, and I believe you are one of the best in this department.

Thanks!

Hey Todd! First off, I wanted to say how happy I was to hear that you are a big fan of my alma mater, The University of Notre Dame. Though not considered an “arts school”, it was there I discovered my love for composition and to pursue this crazy game and film industry in Los Angeles. I’m glad to hear you and your father share this love.

This leads to my question. As you’ve mentioned, atmosphere and tone are a crucial key to the renowned success of the Elder Scrolls franchise. I, as would many others, would contribute a good portion of that atmosphere to the brilliant music of Morrowind, Oblivion, and Skyrim. Not only do these soundtracks rival the greatest in video games - I would argue they match up with the best symphonic music of any medium. I’m talking Ravel, Debussy, Williams.

There’s obviously a lot of excitement brewing for the next major installment in the franchise. My question for you would be, how do you plan on taking this musical foundation that has formed the past 20 years and bringing it into the next “generation” of Elder Scrolls? Is there a large pressure on the team to create something that lives up to what the franchise has accomplished in the past?

Also, if you could ever revive the Elder Scrolls Concert that premiered in London in 2016, I would absolutely love to have a chance to hear those arrangements live. Andrew Skeet’s orchestral arrangements were top tier.Looking forward to the LSO performance tomorrow! Thanks again, Todd, and best of luck with finishing Starfield!

Hi Geoff! First of all, I just wanted to thank you on how well you listen to feedback for your events. I greatly appreciated seeing the composers names listed with the games that are nominated this year.

You have expressed many times about the importance of music in games and for TGA specifically. What changes can we expect this year, and how has Lorne Balfe’s involvement changed the use of music in the show?

Thanks again for all your hard work, looking forward to Thursday!