What are some of the difficulties behind composing for a game as opposed to television or film? Is it necessary to score shorter pieces in order to account for the fact that the player will control the tempo of the game, rather than a constant flow?

It is not just the various lengths of cues; it is how music shifts from scenario to scenario. You have to design the score to have an overall unity, yet cover the various shifts, which the player initiates. You have to compose music but be very aware of how rhythm, key relationships, orchestral color and melodic content will work as you move around the game environment.

Now that we've covered what's harder about composing for games, what's easier? Or better yet, what opportunities do you have when composing for a game as opposed to film or television?

Well, music has not been a creative force yet in games. Music functions as sonic wallpaper for the most part. People seem to be happy if a score just basically works with the picture. They figure the player is not really listening, they are playing the game. People are listening and will react to the stimulus they are presented with. Why make the visuals appear realistic? People find realism cool; it stimulates the brain to think the game might be real. This raises the effect in the player. For music to play a role creatively, the producers need to think differently than they have about music. You can't just slap it in there if you want to get maximum effect, you have to plan and design with it at the beginning. Also, you have to use a composer that has a good imagination and feels confident in breaking the rules. If you fear being different or failing, you will play it safe and not take a new road. Music is not a player yet, but eventually someone will figure it out (let's hope).

What role should music play in a game? Recently there have been games that use music very sparingly, only at tense emotional moments. Are you comfortable with that kind of methodology behind game music or do you prefer a more constant backdrop of music?

Less is more. More is more. It is a tricky balance finding the right places and key moments. When they write the story or script, the writers need to give music a place. Music should be used for a reason. Most music is filler and just there to distract. Music when used more intuitively can have a very powerful role, one that engages the player, not treat him or her like an idiot.

Do you think more mainstream composers will become interested in doing game soundtracks in the future?

You know, it seems like we can see what is coming, but I think it is going to shock us all. TV and film are like museum pieces. Many games are passe' also. Composers are a funny group. They are not the popular people at parties. They are sonic followers. Only a few step out of the accepted groove into a creative area. Some, like myself are turning our sails to catch the wind from this new medium. I think it is neat now, but will shock the world with what is coming. I want to be a part of it. It is exciting in a way because it challenges what entertainment is and what it will be. Working in TV today is like playing with a corpse. Games are like a child taking its first steps. Where would you like to be?

Do you have any other game-related project in the works currently? Are you interested in doing more composing for games?

I am not working on any games currently. I am just studying the genre, and creating new demos. The game producers are spread out all over the world and are insulated. It is a full time job just trying to talk to these people. They don't want to talk about music until it is time to slap some sonic wallpaper into their game. I think dialogue with composers would help a lot. So I stay frosty working in film and TV stuff while I wait for some game producer to call me. It's like being a fireman. You always have to be ready to put out a fire.

Thanks for taking the time to talk to us.

Sure. Thank you for asking such good and insightful questions.

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