MUSIC+SOUND AWARDS TALK TO...

Grant Kirkhope

Composer // Gaming + Film

Grant is a BAFTA-nominated British composer who has created the soundtrack for video games that have sold in excess of 30 million copies. From Mario + Plus Rabbids Kingdom Battle to Ghostbusters, GoldenEye to Banjo-Kazooie, Viva Piñata to Donkey Kong, Kingdoms of Amalur: Reckoning to Civilization: Beyond Earth to Castle of Illusion starring Mickey Mouse. Grant is equally at home with live orchestra as he is with electronic scores, having written music for both mediums throughout his 22-year career.

In 2017 Grant scored Mario + Rabbids Kingdom Battle for Ubisoft, and is the first Western composer to compose for the Nintendo legend! He also composed music for the feature film The King’s Daughter starring Pierce Brosnan, William Hurt and Kaya Scodelario. Grant’s score for the game Viva Piñata was nominated by BAFTA in the Original Score category in its 2007 awards.

He has a degree in music from the Royal Northern College of Music, where he majored in classical trumpet and lives in Los Angeles, California with his wife and two children.

January 2020

So Grant, it would be great to hear how you got started as a composer? 

I'd been playing in lots of different bands since leaving the Royal Northern College of Music in Manchester and a friend of mine, Robin Beanland, got a job at Rare Ltd (an Xbox game studio) and suggested that maybe it was something that I could have a go at. He recommended some equipment for me to buy to get started and I spent a year writing music and sending 5 cassette tapes to Rare and never getting a reply. Then out of the blue I got a letter asking me to attend an interview and to my surprise I got the job!

How do you find composing for games compares with writing for film? 

I really don't find it different at all. I compose exactly the same way. In games there may be some interactive element that you have to consider, in movies you have to consider the dialogue but apart from that it's the same to me.

Do you have the opportunity normally to play the games before you start composing their music? What other information and guidance do you require from the director in order to feel ready to start?

Sometimes I do if I'm brought on late in development, but if I'm on the project from the start that's not always the case. I can receive design docs, video footage, an email, or a chat with the creative director. Any of those things can be enough to let me know what the kind of music they're expecting to hear.

Once started, do you have a process that you tend to stick to? 

Because I was a staff composer for 12 years I got used to working from 9 to 5, it's such a great regime to get into. I don't really have writers block, I sit down at 8:30am(ish) these days and make a start. I know that after 2:00pm I slow down so I go and do something else, then if I'm really busy I can work again in the evening.

Do you have a favourite game that you’ve worked on?

That's a hard question as I like different games for different reasons. Banjo Kazooie was a real milestone for me, Goldeneye because of how big the game got, Mario + Rabbids because it's MARIO, Viva Pinata because it was my first game using live orchestra. In terms of specific compositions, I think Bedtime Story from Viva Pinata is probably my favourite, or maybe Fractal Aquillon from Civilization Beyond Earth. Bedtime Story because I really poured my heart into Viva Pinata. Fractal Aquillon because it has that big epicness to it and I felt like I threw the kitchen sink into that one ... ha! I've been very lucky throughout my career to date as I've genuinely liked every game that I've worked on ... well .... maybe there was one I wasn't so keen on!

How do you see the future of audio/music in games progressing in the future?

Bigger, better, faster! I just think we'll see a continuation of music in games getting more and more recognition. There's already umpteen concerts around the world playing video game music. I think it's introduced whole new generations of people to instrumental music. I really believe that video game music will be the classical music of the future!

And lastly, what does 2020 hold for you work-wise? 

This is the only problem with games, we can never tell anyone what we're working on until it gets announced!!

Visit Grant’s site to find out more www.grantkirkhope.com