The only thing I will say, is that almost always, for narratively driven games, a better score comes from the composer being involved as soon as possible. As I got into composing I started to make sure I had an understanding of the instruments I wrote for. I did this by spending a lot of time with performance students at the Royal Academy of Music, just doing my best to ingest as much information as they could give me! I started learning the piano from the age of eight, and then picked up trumpet, trombone, organ over the subsequent years. What musical education did you receive, and were there any areas or instruments that you focused more upon? Ultimately, whether it’s a game, TV episode, or a short, it always just comes back to storytelling and then figuring out how to do that best within the context you’re given.
This often means you need to be working very closely with the director and/or editor to figure out the best approach. So much of thematic development depends on the material you are working with. If it’s there you grab it, and if not, you find another way to get the music to enhance what is already on-screen. I think it mostly depends on the story trying to be told and whether the short / TV show has the opportunity for music and therefore themes to develop. We also had a choir of 20, occasionally double-tracked for the sound of 40. The string section for most of Will of the Wisps was 50, with a woodwind section and full brass section again contributing to the largest cues. The intimacy that the chamber orchestra provided for Blind Forest wasn’t required nearly as much. For Will of the Wisps, the score needed a more mature sound and a slightly darker tone. There was no live choir in the score due to budget reasons.
We also used the solo vocals of Aeralie Brighton extensively, along with solo winds. For a handful of the bigger and more dramatic cues in the game a bigger orchestra of 40 strings with full woodwind and brass section (minus trumpets). Your scores are grand and sweeping, and you also utilize voices to great effect, what size orchestra did you have for Ori and the Blind Forest?įor Ori and the Blind Forest, the string section for the majority of the game was chamber sized (22 strings), with a small woodwind section of flute, clarinet, and oboe. It was only after finishing that program that I felt truly ready to try and make a career out of it. After graduating the Academy, I spent three years teaching English in Japan, and then in 2009 I came to America to study at USC’s Scoring for Motion Pictures and Television program. Even then, I did not become truly a working professional until 2010. I did so, got accepted to the Royal Academy of Music, and from then on (2002) I started to take it seriously. He has also scored Halo Infinite, Immortals Fenyx Rising ,and Ark.Ĭan I begin by asking was music always something that you wanted to do as a career?ĭefinitely not! I was always enthusiastic about music throughout my school life, but it hadn’t occurred to me that it could be a career until I was told by a schoolteacher that I should apply to music school for composition. British born composer Gareth Coker is a talented and wonderfully gifted Maestro, who has written the atmospheric and haunting soundtracks for video games such as Ori and the Blind Forest, and Ori and the Willow the Wisps.
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