Richard is known for his creative experimentation with sound in his compositions for video games and film. He is a Music & Sound award nominee in 2020 for Doctor Who and has been involved in advertising campaigns from companies such as Netflix, Disney & Columbia Pictures. It was great to hear from him about his journey into the industry, insights into music’s relationship with picture and the way he thinks of music as a language.
KAI:
Thank you Richard for taking the time to answer some of my questions about you as a composer and your working practice. To start with, how would you describe what you do and how have you come to do it?
RICHARD:
I am a composer, predominantly for video games, but I also do films, trailers, and theme parks etc. On my journey it has been a mixture of both instrumental as well as academic studies, then add to that hard work and luck! I found a job at a videogame company doing music transcriptions for Singstar and from there slowly worked my way towards audio, then music work.
KAI:
In terms of your work process, how much would you say have you been taught and how much have you developed yourself over time?
RICHARD:
Very roughly I would say 70/30 in favour of self-development. I had piano and trumpet lessons; A-levels as well as university taught me a huge amount too. But things like music-to-picture workflow, interpersonal skills, dramatic sensibilities are skills you acquire along the way rather than getting taught.
KAI:
As someone composing, what would you say fascinates you about music?
RICHARD:
What fascinates me is the unique ability of music as a language to inform and persuade, comfort and thrill – but often in a way that can be barely registered in the trance-like concentration of watching a film or playing a game.
KAI:
How would you then describe what happens when you combine music and film?
RICHARD:
It depends on what the intention of the producer or director is. What ‘should’ happen is that the music (or the absence of it) elevates the scene, film, or experience to its best potential. Sometimes that will be via a tried and tested cliché, other times by massively subverting expectations or leaning on a trope and then flipping it around. Music also adds a textural layer that enhances the sense of emotion, scale, or drama.
KAI:
What would you say music can do that picture or text cannot?
RICHARD:
I would say music is a more fluid language than picture or text. In most cases, the latter are relatively unambiguous whereas music communicates in a slightly different way. This is not always the case, taking the Mission Impossible theme as an example. Here, in the middle of an action scene we have a very overt use of music to convey excitement and self-referential ‘coolness’. The majority of the time though, music is communicating at a level which is ‘felt’ more than explicitly heard. The complex textural possibilities provided by arrangement, timbre, or orchestration, as well as the somewhat subjective and imprecise nature of the communication gives music a unique power in media.
KAI:
Practically speaking, what is your process from idea to fruition? Do you generally start from ‘nothing’ or is there a sketch or specific brief you work towards?
RICHARD:
It really is different for each project, let alone medium. Very generally you have conversations with the director / producer, then a suite encompassing the broad strokes of the music required. There is a first pass on the areas we think music will be needed, then revisions and changes are made as the project develops. Sometimes there is a specific brief, especially with film trailers on a tight deadline, but for games or films you usually have conversions, sometimes also Spotify playlists for reference purposes and then a suite or set of demos.
KAI:
On a slightly different note, in what ways would you say we can describe music as a ‘communicator’? Do you think as creators we think about the content we produce and how it impacts our audiences?
RICHARD:
Music is a language – it is not an inert thing. It communicates in some ways which are very analogous to speech, and others which are not. But texture, timbre, pitch, volume, harmony etc. are all communicative qualities that will change the meaning and effect of the music when altered. I think to a degree we do think about the content we produce and how it impacts our audience. Mostly that is in the context of serving the brief. To me, the best music for a project is hopefully always the best music for yourself, as well as for the audience.
KAI:
Speaking about audiences, when you compose, are you writing with a specific audience in mind or is it the music itself that is your focus? And lastly, how do you think we can reach new audiences with orchestral music, in particular younger people?
RICHARD:
It is all about making the best music for the project. Earlier on in my career there was often a mix of hubris and panic about trying to do ‘too much’ within a project in order to prove something. Now I am quite happy to write unpleasant music or very simple music, if that’s what is best for the project. I don’t worry about perception of it in isolation. In terms of reaching new audiences for orchestral music, what comes to mind initially would be to think about accessibility, cost, and concert length. Possibly also familiarity with the repertoire or mixing some shorter classical movements with film music or orchestrated chart music.
KAI:
Thank you, Richard. I really appreciated hearing some of your journey and perspective on composition and music.
To find out more about Richard, you can visit his website.
Kai Vollprecht Media 