We point Peter to your ques­tions, and he clicks ‘re­ply’



How many in­stru­ments can you play?

I play most things with strings on them, ex­cept cello and harp, plus key­boards. The real ques­tion is: how many do I play well? Maybe elec­tric vi­o­lin and fivestring banjo. Pos­si­bly cer­tain styles on acous­tic guitar. I love a wide va­ri­ety of mu­sic and, in­stru­men­tally, I have gone wide as op­posed to deep.

rory milne:

do you pre­fer com­pos­ing for movie-in­spired ti­tles or orig­i­nal Ips, and how does your ap­proach to work­ing on these two cat­e­gories of games dif­fer?

I am grate­ful for hav­ing had the op­por­tu­nity to spend count­less hours edit­ing John Wil­liams’ mu­sic for Star Wars ti­tles, just as I am grate­ful for the chance I got to write for orig­i­nal ti­tles like Grim Fan­dango, Psy­cho­nauts and Hearth­stone. Of course, work­ing on big prop­er­ties like the Star Wars fran­chise comes with some very spe­cific re­quire­ments. You need to be faith­ful to the spirit, if not the let­ter, of prece­dent. We have all seen how that can play out in some of the re­cent Star Wars movie se­quels. Learn­ing to work within an es­tab­lished world like that can be a re­ward­ing chal­lenge, as long as it doesn’t de­fine your path.

para­noid mar­vin:

did the IMUSE sys­tem end up be­ing all you ex­pected it to be?

My only re­gret about the IMUSE sys­tem is that it was es­sen­tially shelved when the cre­ators left Lu­casarts. But, we did ev­ery­thing we wanted to do with the sys­tem while we were us­ing it. At this point it just feels like a nice lit­tle piece of his­tory. And I am happy with the in­flu­ence it seems to have had on the in­dus­try at large.


What film/tv pro­gramme would you like to have scored?

The orig­i­nal Mis­sion Im­pos­si­ble TV show. Lalo Schifrin is a god.

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