We expect things to sound a certain way because we’re all pre-programmed from watching cartoons as a kid or whatever it is, so I don’t find that hard.”Įven after so many years, Grant is still astounded at how his music has remained iconic. For movies over the years, you expect certain sounds for certain things. “Your mind instantly springs to those kind of instruments. I think your mind just goes to those things straight away,” he said. If it’s a warm forest, I’ll think about warm strings and bassoons. “If someone says to you, ‘It’s a frozen ice castle,’ I’m thinking about strings and glockenspiel and celesta.
Personally, I was always a big fan of the theme for ‘Banana Fairy Isle,’ which always managed to tug at my heartstrings in a way I couldn’t always fully describe as a kid.įortunately, Grant agreed with me, saying: All of Rare was massive Nintendo fans and used to point to Mario and say, ‘You can listen to that music over and over and over and over again, and you don’t get tired of it. “I really wanted to make sure all the level tunes stood up to a good beating. You obviously try to be your best, but you never really know until it gets out there,” he admitted. “I like ‘Crystal Caves,’ it was more of a mellow-sounding level and I like the spooky one, ‘Creepy Castle.’ That’s a kind of Addams Family, click-of-the-fingers thing. Donkey Kong 64, which perfected the “collectathon” format of Banjo Kazooie the year before, contains nearly a dozen different worlds that range from a jungle, to an enchanted forest, to an Aztec-inspired desert, to an evil toy factory, to pretty much everything in between. As for what he enjoys most about the instrumental score, Grant is partial to several themes that helped build the immersive (and sometimes hair-raisingly ominous) atmosphere of the game.
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