MRH: One aspect that grabbed me in listening to your scores for SimAnimals and Spore Hero is the variety of themes, which might seem quite daunting for other composers. Is it hard to create distinct, vivid themes, or do you find the characters are just as dynamic as filmic counterparts?

WF: The opportunity to create themes was one of the big attractions that lured me into writing music for videogames.  It seems to me that the film community is moving towards subtle musical atmosphere rather than memorable melody and structure.  There’s nothing wrong with this, and sometimes videogames can benefit from a subtle atmospheric approach as well.  But the nature of videogames provides opportunities for a composer to define characters and situations with strong themes and dynamic colors.  This really appeals to me.

MRH: Your writing also reveals a keen interest in creating sharply drawn sounds with very precise orchestrations. Is the refining process for you the hardest, or do you find that with experience, being able to deliver a precisely written cue (for mood, action, theme) for a specific moment is now almost instinctive?

WF: I think the process is pretty instinctive for me now.  I tend to think in terms of big aural contrasts, and I like a sense of clarity and structure in the way the music progresses.  I’ve worked on a lot of projects, and I try to learn new things and grow as I go along, especially as it relates to serving the best interests of the project. 

Mood, action and general theme are all important considerations, and I know that the music needs to enhance all of these as much as possible.  I’m always trying to do a better job with each score I write.  The guidance of my music producer Winnie Waldron has been invaluable to me while I’m working.  Having her pair of extremely knowledgeable ears and her objective viewpoint is a luxury that I’m blessed to have on a daily basis.

MRH: Perhaps a more accurate portrait of a contemporary composer is one who is involved in several areas of a career, spanning composition, production, managing, promotion, and keeping the work slate active. Do you find these skills were acquired from necessity, or are they unique to artists who enjoy the creativity of wearing several hats and being in firm control of one's career?

WF: Personally, I’m happiest when I know what’s going on with my career and I’m connected to the industry in which I work.  Having a sense of control over my career lets me feel more connected to my industry.  I like to meet developers and talk about future projects, and I enjoy getting hands on in the audio production process.  It’s a great contrast to my work as a composer, and I think it fuels my enthusiasm for the work.

MRH: Lastly, is there a particular genre you'd like to score, since genres like action, drama, horror, or documentary in film and videogames equally offer chances to explore a new style, if not a new idiom?

WF: I’d love to create music for one of those epic ‘good versus ultimate evil’ style fantasy projects.  I’ve been lucky to create music for projects that have required a very large breadth of styles and techniques, and I think that heroic fantasy would be a great opportunity to take what I’ve learned and apply it to a broader canvas.  I’m very enthused about exploring those kinds of musical possibilities.