"Beyond getting a good head start, it's important to know when a particular part of the game is ready to score. I have to say I'm glad I took extra care on the themes because I feel they were really able to blossom in the new live recordings." Now, years later, I've been lucky enough to revisit that score for the new re-mastered version on PS4/Vita, re-mixing and adding tracks to some pieces and completely re-recording others with live orchestra. Then I spent several months just humming and playing tunes into a hand-held recorder, then running them by Tim - long before I ever started to work in the studio. Early on in that project, Tim Schafer gave me a bunch of cinematic and musical references to digest. This goes back to working on titles like Grim Fandango for LucasArts. "Every project is different, but in general I do like to work out the main theme melodies in advance and be sure that the project team feels good about a few important pieces before getting too far into the score. What's your approach to a video game project? Do you look to past genre works for inspiration, work with the development team on the game's central themes before penning anything? But whatever musical style I choose, I find the place where it resonates with me personally, and I try to convey both a love for the music and the story it scores, along with a bit of a sense of humor." We live in a mash-up culture and I love that it's possible to express oneself musically without necessarily feeling constrained by style or genre.
I think the range of style comes from having lived in some very different places - Switzerland, Eastern Kentucky and Boston to name three - and absorbing the music around me.
Grim fandango ost orchestral full#
I've written in many styles of music, for many kinds and configurations of instruments, from roots-y folk music to synth pop to full orchestral scores. Peter McConnell: "I don't think my work is characterised by a particular style or instrumentation as much as it is by a certain whimsical attitude.
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