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4.1.2005
"Working at Media Ventures is a challenge no matter what your background is. It is a different way of looking at the scoring process and a lot of the major techniques used by Hans Zimmer are used in my work as well." |
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4.1.2005
"The score features some of the same musicians I was able to work with on Grim Fandango, plus this one guy who is, I kid you not, the best harmonica player in the world." |
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3.1.2005
"I love the freedom when writing in-game music, but I also love to score to picture and feel how the music is intensifying the drama in the movie. If I want to be truthful to myself I'd have to say I love both!" |
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2.22.2005
"As luck would have it, in my hour of need I took a call from Paul Talkington. Paul is an agent of sorts. As part of his many talents he puts composers in touch with orchestrators and organizes the orchestra, studio bookings, recording and mixing sessions etc." |
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2.1.2005
"One thing I have noticed about working with Seattle musicians is that they really enjoy working on game titles. They don't consider game scores to be a step down from film scores. Many of the musicians were eager to find out about the game and were excited about their involvement in the project." |
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2.1.2005
"In my years as both a freelance and in-house composer/sound designer, I've seen almost every obstacle and had to create a solution. That's where I feel my advantages lie." |
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1.3.2005
"Killzone's score has been received very well in the press, and often lauded for its epic and bombastic nature. Some people even mentioned they thought it was a shame there wasn't more of it, having wanted in-game music, something we'll definitely consider for future projects." |
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12.1.2004
"The guys at Team Soho were familiar with Ninja, and put in a call about the possibility of our getting involved. We met Dave Ranyard at Sony who is responsible for audio on this game and had an idea of how he wanted us to be involved." |
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12.1.2004
"During the production of Killzone I had a lot of time to make various sketches, but the actual composition and orchestration was completed over a tense 5 week period in May, as only then had all the in-game cinematics been finalized." |
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12.1.2004
"I was interested in new sounds for Myst IV and didn't want to copy anyone, including much of my work on Myst III. I hired some great multi-instrumentalists such as Judd Miller who plays the EVI (electronic valve instrument)." |
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