Phillips: There are a lot of challenges!  Game music is interactive, so it has to be written to adapt fluidly to what’s happening in the game.  Some games call for a lot of musical interactivity, which means that I’ll be writing the music in all kinds of component parts that can be assembled and disassembled on the fly.  Also, for a movie-based title, a composer has to create an atmosphere that is true to the spirit of the film, whether that film is “Charlie and the Chocolate Factory”, “The Da Vinci Code” or “Shrek the Third”.  Because the game and the film are always in production simultaneously, the game composer doesn’t have access to the film or the film’s score while working.  I like this a lot, because I get to invent my own musical interpretation, which is something I love to do!  Plus, sometimes the film director listens and approves the game score personally, which can be a real thrill.  I know Tim Burton listened to my music from the “Charlie and the Chocolate Factory” game, and he approved everything I wrote.  Things like that make working on movie-based games an incredibly fulfilling experience.

WG: Where do you draw inspiration from?

Phillips: I listen to a lot of music while I’m working, and that music serves to ground me in the culture and atmosphere of the game.  For instance, on “God of War” I listened to a lot of World music styles originating in Greece and the Mediterranean.  Listening to that music helped me to understand the rich culture behind the story of “God of War”.  Great music can serve as a mentor during the creative process, providing all sorts of inspiration.  Also, my music producer, Winnie Waldron, inspires me greatly.  Her wisdom and guidance keep me on track from the start of a project to its finish.  But in the end, the games themselves are the best source of inspiration.  The developers pour tremendous amounts of ingenuity and originality into the creation of their video games, and I try to absorb all that creative energy and funnel it into the music I’m writing.

WG: What advice would you give women looking to break into music composition for games?

Phillips: Music composition for games is as technological a field as any that you’ll find in the games industry.  It requires a huge investment in computer and music equipment, and the commitment to keep pace with the relentless advance of technology.  My advice is to spend wisely.  Build your studio to meet the needs of the industry.  Refine your composition skills to exploit the strengths of the technology.  Finally, keep listening to great music, so that your ears will naturally seek out the sounds that are both pleasing for your listeners and inspiring for you.  Then you’ll have the right tools and skill set for a career as a game composer.  After that, it is just a matter of putting yourself in front of the industry until someone hires you.  Writing music for games is very hard work, but it is also tremendously gratifying.  I couldn’t imagine doing anything else.

Thank you for spending the time to answer our questions. We wish you the very best of luck in your endeavors.

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