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Editor's Note: This interview was originally written in 2000 as part of the promotional campaign for the First Annual Applelinks Moofie Awards. Some of the references and information contained herein is now dated, and--where necessary--some has been updated.
  

When you think of Jaws, what's the first thing that comes to mind? The skinny-dipper getting attacked at the beginning? The shark killing the small boy at the beach? Mario Van Peebles in Part IV? No. For most people, it's John Williams' haunting score. The repetition of those two notes, slowly crescendoing to a fever pitch, ripped the fear and suspense from the screen and thrust it right into the viewer's awareness. Good music adds life to motion pictures and can stir emotions that acting and directing alone cannot.

The same goes for computer games. Now more than ever, music has become an integral part of the gaming experience. LucasArts Star Wars titles make full use of Williams' soundtracks, and even rock stars such as Trent Reznor, Thomas Dolby and Brian May have contributed original music to computer games.

So what goes into creating the musical score and ambient music that we listen to each time we load up our favorite games? To find out, I chatted with Moofie Award nominee Michael Beckett of Nuclear Kangaroo Music, composer of the music for Pangea Software's Nanosaur and Bugdom.

Kirk: First, congratulations on your nomination.

Michael: Thank you, thank you, it is truly an honour. Or in America, an honor.

Kirk: I mentioned in my review for Bugdom that your music is reminiscent of composers such as Jerry Goldsmith and Danny Elfman. Who do you list as your influences?

Michael: It's a wide range, actually. Let's see, there's Hans Zimmer of late; I love his work. He teamed up with Lisa Gerrard for "Gladiator," which blew me away on all fronts. Also, Mr. Elfman definitely has a spot on the list. Other sources of interest over the years have been Henry Mancini, Larry Fast (of Synergy fame), Peter Gabriel, the Yellowjackets, a local group called Skywalk, Enya, Orbital...there are others, but I can't remember them all!

Kirk: A pretty diverse list, which I think shows up in your music. Bugdom alone spans quite a few styles, from light strings to heavy drums. Which brings me to my next question. Do you find it difficult to write completely different styles when each level of a game is basically the same?

Michael: It depends on the game, really. For instance, each level in Bugdom is fairly different, when you think about it. True, it's the same hero striving towards the same goal, but the graphics of each level varied quite a bit. The Pond level just struck me as so magical that I had to try and reflect that with that level's cue. The Anthill, comparitively, is dark and frantic, which I think is also reflected in the cue I chose.

Kirk: For the sake of our readers, and for me, define cue...musically, of course.

Michael: Yes, sorry, I'm using "cue" interchangably with "piece" or "song."

Kirk: So, you go off the look of the level rather than the action?

Michael: Yes, and again it depends on the game, but in Bugdom I felt several non-stop, up tempo pieces of the same genre would wear people out faster.

Kirk: I agree. Your slower...uh...cues on some levels actually relaxed me, despite the fact they may have been tougher levels.

Michael: Good! I know the Pond level frustrated me a bit to play at first. Maybe that's why the music was so mellow on that level. =-)

Kirk: I feel that in some ways game composers have it harder than film composers. In films, a scene begins and ends at assigned points. But you have no idea how long it will take someone to complete a game level, so you have to loop the cue (I'm down with the lingo now). Is that frustrating?

Michael: It can be, definitely. Some games vary so much in one level that it can be really difficult to write something that maintains the right mood all the way through the level. Alternatively, you can just write background music. Nothing really to do with the specific level, just something that fills the space and gives everything a polished, cinematic feel. Starcraft and Diablo employ this concept very well.

Kirk: Now that you've mentioned some other games, are there any games you wish you'd been hired to score?

Michael: As it happens, I'm currently working on Bugdom's successor, Cro-Mag Rally, so, that's one wish come true! Of course, saying anything more about that would cause ninjas to fall from the ceiling and slaughter us both, so that's all I'll let slip for now.

Kirk: I don't know. I find most interviews can be improved with falling ninjas. I'm sorry. Continue.

Michael: Of course, I'd love to have done Quake II...to try and match wits with Trent Reznor's great work for the original Quake; the best ambient soundtrack I've ever heard in a game. I'd love to score anything like Myst or Riven as well; great challenges, to be sure. And generally I'd be up for a little ninja dodging, but Brian's are just too good, so... =-)

Kirk: At what point in the game's production are you called in to write the music? Is it playable yet, or do you go off artist's conceptions and storyboards?

Michael: I usually get the call when the game is at the alpha stage. I can certainly work to storyboards, but actually getting the feel for the game when it first starts running gives me the chance to make suggestions about how the music might work. Brian in particular is very open to feedback, and where CMR is concerned we've already bounced a few ideas back and forth, and I haven't even given him anything yet. Of course, his code is generally very solid. Otherwise, I might want to wait until the game was beta... =-)

Kirk: I know that not all of your music is written for games. Have you ever had a girlfriend nag you about writing a song for her, so you just pull up an old piece and change the title and say it's hers?

Michael: Hahahahahaa...! That's a great idea, actually, um, er...not exactly. I have had a girlfriend that was a singer, though, yet I didn't write anything for her. She was into jazz standards and the like. Definitely, though, a lady loves it when a guy writes a nice tune for 'em. The problem is, the brownie points have such a short shelf life, but we won't get into that... =-)

Kirk: Been there. My thing was always that, should we break up, then I'd never want to play that song again. So I had a song that I just recycled, chaning the lyric to make it fit the girl. It's harder for you since you don't have lyrics...or do you sometimes?

Michael: Nice to know that musicians all have similar suffering points... :-D Lyrics, I have to admit, are something new for me. You see, when I listened to music growing up until recently (not that I'm finished growing up or anything), I always listened to the music, and never (rarely) the lyrics. So I'm a little stunted in the lyric vein. I'm starting to pay more attention now, though, and you just might hear some lyrics in the next game.

Kirk: Again, I'm with you. I can suffer through bad lyrics, but I can't take bad music. Will you be singing in the next game, or do your talents stop at the keyboard? Speaking of that, what instruments do you play?

Michael: Yup. I might give it a go, as it'll be more for laughs than for artistic impact. So, with my voice, that should work out fine. =-) Instrumentwise, my first and most important instrument was the piano. It's such a useful instrument for composition because of its range and limitless polyphony (play as many notes as you want simultaneously, as opposed to, say, a flute). I flirted briefly with the flute, then got sucked into playing trombone for about 8 years. In that period, I also tried out the flugelhorn, trumpet, baritone, euphonium, choir and guitar. Guitar I'm just starting to ease back into, actually, but I've got a long way to go. You might hear some in CMR, we'll see...

Kirk: "Flirted with the flute." That sounds like a metaphor. Which leads me to my next question. Do your aspirations end at games, or you would one day like to score a porn movie?

Michael: Well, of course, any serious artist's goals peak with the scoring of a good skin flick. I'm sure if I could land the gig for "Shaving Ryan's Privates," life would get a whole lot better. :-D But seriously, I've also done some work for TV, independent film and jingles. Haven't scored anything to flirt with a "flute" by, though.

Kirk: I've listened to the music available at NuclearKangarooMusic.com. You pretty much cover everything from classical to dance to calypso. Which style do you prefer to write?

Michael: You know, I'm pretty easy where writing styles are concerned. I love music, so most genres come pretty naturally to me. If I had to pick one, it would probably be film music. I love telling a story with music, and that's the genre where you have the most latitude, I find. Of course, I love writing electronic pieces as well...tough choice. Maybe we should eliminate what I don't really like. Thrash metal I'm not so good with. Opera (I know, very uncouth) bores me to death because it's too difficult to follow. And I don't hate it or anything, but I'm not very good at country...Sorry Shania! =-)

Kirk: Well, it's hard to get that steel guitar sound across with a synth. Speaking of which (I'm getting good at my transitions, don't you think?), what equipment do you use to compose your music? No details necessary, of course.

Michael: I'm sure they'll figure out how to do that one day, and yes--excellent segue! =-) My digital orchestra sounds better and better all the time! Gear wise, it's a long list, but the important stuff would be...the Mac. I've got a G3 upgraded 7600 with two Audiowerk8 cards, running Emagic's Logic Audio Platinum. I worked as consultant in the music industry for several years, designing and maintaining MIDI and digital audio sequencing setups for everyone from hobbyists to rock stars, and Logic running on a Mac is by far my weapon of choice. Other than that, it's just several keyboards, synth modules and samplers hooked up to Logic.

Kirk: Rock stars? Ever work for that Kid Rock? I hear he's quite popular with the chirren. They think he's dy-no-mite!

Michael: BAhahAhahAhahaa! Nope, can't say that I have. Bryan Adams has a studio here in Vancouver, so I've met and worked with him, but more as a technician than a composer. I actually "retired" from that line of work so I could focus on composing full time.

Kirk: Yeah, I think Bryan retired from that line of work too. The moment you record a song with Barbra Streisand, you've pretty much slammed the door on rock music...hey, maybe Barbra could sing for Cro-Mag!

Michael: Oh, he just diversified a little. He still plays a lot of rock 'n' roll on tour, but he likes to take advantage of all of the things you can do in the studio nowadays. As far as Barbra singing for Cro-Mag goes, I'm not sure if grunting is her thing...but if she's interested, she'd be welcome! =-)

Kirk: Hold on, I'll ask her. Oh, that's right. Barbra Streisand doesn't live with me. I keep forgetting. Okay, let's play some word assocation. I'll say a word, and you say the first thing that comes to mind...Gustatory.

Michael: The story of Gus.

Kirk: Okay, enough word association.

Michael: OK then.

Kirk: I think we should wrap this up now, so, I have just a couple more questions. First, because all interviewers must ask it, where do you see yourself in five years?

Michael: Sheesh. Saving the toughies for last, eh? Well, I think if I can keep from bumming around the place in my bunny slippers and actually get my nose to the grindstone, it could be interesting. There's a whole new relationship potential between artists and fans that I want to be among the first to take advantage of. A direct relationship without middlemen, where I can sell my music for a lot less but actually make more. Ideally, I hope to be a recording artist with a real relationship with the people who listen to my stuff. A larger, better equipped studio would be nice. And the chance to work with some other artists would be nice, too. I'm still seeing myself writing for videogames, though. And hopefully film. Kinda vague answer, I guess, but the crystal ball is foggy tonight.

Kirk: Okay, well, more importantly, where do you see me in five years?

Michael: Oh, I'll save a seat for you on the porch of my vast home, overlooking the Valley. Might even let you ride shotgun in the Porsche... =-)

Kirk: Fair enough. Tell you what, in exchange, if I ever get around to making my porn movie, "The Triplets Go to Mars," I'll have you do the score...and by score, I mean the music, of course.

Michael: Damn. I mean, great!!

Kirk: And finally, if you care to make a prediction, the nominees for Best Picture at the First Annual Applelinks Moofie Awards are Myth II, Quake III: Arena, Rainbow 6 and Starcraft. Any thoughts on who will win?

Michael: Hmmm...First, I haven't played Rainbow 6, but I hear it's a great break out from the usual first person shooter. Quake III: Arena is the best looking game of the batch, but you have so little time to take in the scenery. Myth II is great work, but not really different enough from the original Myth. Starcraft is a great game, any way you slice it; Starcraft should win.

Kirk: Okay. Well, thank you for taking time away from Cro-Mag to talk with me tonight. I wish you the best of luck at the Awards, and tell Ms. Streisand I want that $5 she owes me.

Michael: Well, I very much appreciate the opportunity to talk with you, and thanks for keeping it so interesting! =-) Thanks for your consideration in the Awards, and I'll let Barb know that you're waiting for that cash. If I see Jimmy at the country club, I'll take it up with him over a beer.
  

Editor's Note: To hear some more recent examples of Michael Beckett's work, check out Sega Soccer Slam for the Nintendo GameCube or Pangea Software's first puzzle game for the Macintosh, Enigmo, which basically serves as a "Michael Beckett's Greatest Hits."