I don’t get that writer’s block because I’m used to hammering away until I get something. I think because I was a staff composer at Rare for 12 years, I went in and wrote music from 9 to 5. That sparks my inspiration to get going.Īlso, I might listen to my favorite composers, like John Williams or (Edward) Elgar, maybe Danny Elfman to try and get some inspiration. Try to get some chords going or the melody. I might sample a french horn, a clarinet, or some synthesizer. I’m not a really intellectual composer, just that type of guy who messes around with stuff until it sounds good. I just get started and then it goes from there. I think that I’m never going to get through it. I keep thinking every time I start a new project I’m not going to be able to manage it. That’s one of the questions I often ask myself. How do you find the creativity to come up with new compositions? What are your sources of inspiration after all this time? SUPERJUMP: You’ve been making music for video games for decades now. With so much to reflect on now, Grant was kind enough to sit down with us and give his thoughts on the impact of his music on gaming and the medium at large. He most recently composed Mario+Rabbids: Kingdom Battle, and has been working freelance for over a decade now, lending his talents to various other projects. Titles composed by Grant include Banjo-Kazooie and its sequel, Donkey Kong 64, GoldenEye 007, and Perfect Dark. He is most famous for iconic soundtracks to Rare classics for the Nintendo 64. Gr ant Kirkhope has been a composer in the gaming industry since the mid-1990s.
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