Trevor Morris: I am completely and admittedly greedy that way. I completely enjoy writing music for different mediums, and sincerely hope to never get type cast as a “film composer” or “television composer” or “interactive composer.” They all offer different challenges musically, and I enjoy them all equally. I am barely finished with Need for Speed, and I am already looking forward to the next one!

M4G: Are there any ideas, concepts, or techniques that video games can embrace from the film or TV industries to assist with game music’s continued growth?
Trevor Morris: I think allowing music to be delivered in 5.1 would be a big first step. At the moment the surround elements of gaming are largely dedicated to the sound effects. The sonic depth and height of music shouldn’t be underestimated in terms of delivering emotional impact. TV & Film are incredibly efficient mediums at telling story and conveying emotion, and I think there could be more of that in the interactive world. It may sound corny, but I don’t see why the interactive experience can’t have the same potential to make people laugh, cry, sweat bullets as well as scream out loud as Film does. I would love to play a game that “transports” me in the same way a great Bruckheimer film does!

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