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*The Impressionists is currently screening nationwide in UK cinemas and in select US theatres on July 14.
Brief list of credits
Deep Cuts (TV series), Exhibition on Screen: The Impressionists – And the Man Who Made Them (documentary feature), Project CARS (video game).
Tell us a little about yourself and what do you do for a living?
I’m a composer and audio director and work now mainly in games and film. I live in the UK near the sea, with my opera singer wife and a cat. I love cars and motor racing and so working on racing simulation games is a bit of a labour of love. I’m a University Reader which means that I teach one or two classes a semester and the rest of my time is spent writing music. Working with talented students is always really rewarding seeing them develop and flourish.
You composed the music to the recently released video game Project CARS. What was the music production process for the project like? What was your approach for the mood and the feel of the game?
Like all authentic racing simulation titles, there is no music during gameplay; car engines always take precedence. So, ultimately, the composer is deprived of scoring the best bits! My job then is to try to enhance the player’s sense of immersion in this world of racing and deepen their emotional and psychological responses to it by ‘preparing’ them for the race. The music in the menu system is therefore dramatic, gripping, epic, gladiatorial and is infused with race day sounds – cars, crowds, tannoys – so that it links directly to the sound world they will be exposed to whilst racing. It’s a varied score and reflects many facets of motorsport.
The production process and musical development took place over a period of about 3 years (though not constantly as I was working on other projects) and the final recording and mix sessions were finished about 4 months before the game was released.
You were also the audio director for Project CARS. What did your role entail and what was the development process like from this aspect?
As Audio Director I oversee all audio content in the game from concept to completion. Working alongside colleagues (sound designers and audio programmers) we design everything from engine sounds, to helicopters, to pit to car radio system – that’s a lot of audio assets!
How big was your team for the game and do you have any special stories you could share from e.g. recording sessions and post-production phase?
My team was effectively myself and my long term colleague Greg Hill, with some great programming input from Stuart Hunt and Tim Mann; in the last few weeks of production Vanesa Tate also produced some excellent audio for the menu system. In comparison to many competitor games, our team is very, very small.
One thing I do remember was a recording session at the San Marino Circuit in Imola, Italy in 2012. I was there to record two amazing cars: the Pagani Huayra and the (insane) Zonda R. Now, I’ve recorded many many cars over the years, but this was ‘interesting’ for two reasons: it was nerve-wracking gaffer-taping microphones to a $2m hyper-car; and the Zonda R was so loud – I mean unbelievably loud – that I had to turn down my pre-amps to virtually zero just to capture a clean recording of its exhaust. Still, at least the microphone didn’t catch fire that time.
When do you find you are most creative and are there any particular secrets to your creativity?
I’m pretty consistently creative I think, but nothing beats feeling the cold steel of the pistol against your head as the deadline approaches fast. I tend to take frequent breaks when the pressure is really on, go for walks along the beach to clear my head, or just go out for a drive in the car.
Beside video games what projects have you been working on recently?
It’s been a very busy few years! Most recently I’ve worked on a wonderful feature documentary about Impressionist painters – called The Impressionists; Brandy and Pep – Tim Pope’s first film since directing the Crow: City of Angels in 1996 – it’s a very dark film about deep rooted family secrets and failed relationships; and I’ve just started working on a new TV series called Deep Cuts here in the UK.
You have quite an impressive portfolio under your belt. What would you consider the most inspiring moment in your career so far?
Probably working with Charles Deenen on Need for Speed: Shift 2 Unleashed back in 2010 and 2011.
Any specific “lessons learned” on a project that you could share?
The great thing is that you’re always learning new things and as long as you’re open to new ideas and new ways of doing things, you’ll make your way.
Any hints, tips or motivational speeches for the readers?
Never, ever give up, and never forget that we ALL have self-doubt, if we didn’t there would be no point in striving to be the best you can be. Work hard, be determined and be nice.