How do you approach composing for different mediums, such as film, video games, or standalone music?

For films: Since I prefer to work closely with directors to achieve the musical tone for their films, before I start, and even throughout the project, I like to ask different questions on how they want it to sound; whether it's a single instrument for a moment in the movie, or a full fledge epic mess of excitement! I usually know how I feel musically speaking when I have my first watch or read of the script, but I like to ask them what they think of my interpretation.

For video games: I always ask for music examples, the backstory, maybe a trailer or a gameplay test; anything they have about their game is plenty for me to work with. I mentally place myself inside the game world and the music just starts flowing.  

For standalone music: Again, I like to have as much information as I could possibly receive; this includes a few music examples and mood description. After I know these things, I usually roll with it just the same as I do with the gaming tracks. I may also study the music genre for a few hours or even over a series of days while I "throw things around" in my workstation to make the musical magic happen!

There are some really key differences between the three mediums of film, video games and standalone music. Each has specific technical requirements that often shape and guide how to best compose the piece. Being mindful of these, and obtaining clear delivery specs will allow for a smooth and enjoyable process.

Film
Film music is often delivered as track stems as well as a full piece. The editors will often utilise these stems to make mix changes or even create new or adapted cues. It’s important to structure your session correctly to ensure stems can be grouped and exported easily.

As a film changes through multiple stages of production there’s often a requirement for the music score to change in length, intensity or even style completely. If this can’t be achieved with the mix or stems you will be required as a composer to make changes to the music cue. Being flexible and adaptive is important to troubleshoot tricky timing changes for sync points.

It’s also worth considering the playback medium of your compositions. Film will often require a multichannel surround mix, and if you have the facility you may want to make compositional considerations when deciding on instrument choice and placement.

Video Games
Due to how music is integrated within video games, it will often require delivery of loopable layers that fade in and out, triggered by the player’s progress. As such the music can sometimes require composition in ‘vertical layers’ that can build up from subtle underscore to full orchestra depending on the intensity required. This can be an exciting challenge, leading to some really interesting and fun composition choices.

Standalone
The approach for composing standalone music will depend entirely on the use case of the end product. If it’s just for the sake of art… there are no rules really!

If it’s for client work, you need to focus on gathering information from them and trying to understand what they’re trying to convey with the music. There’s no point in creating an amazing orchestral masterpiece if the client is looking for a minimal underscore for a voice-led product explainer video.

Creating a composition for films, video games, and other projects requires a unique approach, as each project has its own structure and audience expectations.

In the film industry, I carefully analyze the storyline and study the characters to create a distinctive theme that connects through the entire plot. Constant collaboration with the director is also essential, as it helps align the music's style with the characters and genre of the film. It’s also important to ensure that each scene and action aligns with the music’s movement.

In games, music is adaptive and interactive, so it’s necessary to compose modular pieces that respond to the player's actions. The music should immerse the player in the game’s atmosphere without distracting from gameplay.

I view music as telling the game's emotional story, film, or lyrics. It is the supporting cast for the show's stars. This concept applies to all forms of music, whether it is rap or a film score. When composing, I first listen to my clients and get as much information as possible about what they want. I ask for samples of music that represent the sound they are looking for. I then supply demos for them to listen to and give me feedback.  Next, I submit a preview track of the music for final approval before I deliver the finished product to them. 

I don’t see composing for different mediums as fundamentally different. It’s all about storytelling, and I approach each project by focusing on how to best convey the story. I rely on instinct and emotion as my guiding principles, ensuring that my music effectively supports the narrative, regardless of the medium.

When composing for different mediums, I tailor my approach to fit the specific needs of each project. For film and video games, I focus on enhancing the narrative and mood, ensuring the music complements the visuals and gameplay. With standalone music, I prioritize crafting a cohesive and engaging experience that conveys emotion and tells a story on its own. Regardless of the medium, my goal is to create music that resonates deeply and serves its purpose effectively.

My approach varies to suit the project's unique demands. With over 20 years in the industry, I've learned to tailor my compositions to enhance the medium's specific storytelling. For film, I focus on creating music that complements the visuals and amplifies the emotional impact of scenes. In video games, the music needs to be dynamic and interactive, responding to gameplay and immersing the player in the world.