This interview took place right after the interview with Hiroaki Yura and Hiroki Kikuta from CIA. You can catch up on that here. Tomoki Miyoshi (@tomoki_miyoshi) is an extremely gifted young composer at only 18 years of age who has been tasked with bringing the cinematic world of Soul Calibur V to life. Read here as Japandaman Dailies’ Art Editor, Stephanie, goes one on one with this exciting talent and finds out what makes him tick.
SK: You’re very young and you’re working on Soul Calibur V?
Tomoki: I turned 18 a few weeks ago and have been asked to work on the music for the upcoming Soul Calibur V game as a composer. It was really the most exciting thing in my life to have heard about the position in the project being offered to me. It was unreal to say the very least. I actually worked on the cinematic scenes found in the story mode of the game, which is actually the field I was most interested in to begin with.
SK: So what are your influences? What got you into composing?
T: One of my biggest influences, if not all, is from Film music. My favorite composer for Film would have to be Thomas Newman with John Powell being the very close second. I also attend a music school in Japan called the Koyo Conservatory, where I study Composition/Film Scoring. I actually study composition from a Jazz-based basic, which was entirely influenced by the school I currently attend. Hiroaki, my music supervisor and audio director also helps me greatly with exposing me to diverse musical genres. To wrap things up, I’d say that I’m most influenced by traditional Japanese and Hollywood music.
SK: So do you find that scoring for the cinematics in games is different, in any way, to how you would imagine otherwise?
T: Nowadays, in my opinion, scoring for cinematics in games is virtually identical to that of scoring for any other traditionally prevalent media because the final product is of such high-quality in games. The only difference I found to be apparent in games is that you have to anticipate the atmosphere and the intensity of what will happen next in the gameplay section of the game.
SK: And especially with, for example, composing music for video game cinematics, you want something grand because people are going to be hearing it over and over again every time they boot up the game, every time they play or watch the FMV’s from the game so I’m assuming it’s hard to make something memorable?
T: The audio director, Junichi Nakatsuru, who I am actually a great fan of, told me about the gravity of how many people are actually going to listen to my music. I didn’t take that into consideration when I was actually writing the music, but having realized that, it’s actually a very scary thought. Making things memorable wasn’t particularly my goal. They say that the best film scores are the ones you don’t notice. My job, I thought, was to accompany, illustrate and to enhance the scene, at the same time keeping the musical side of things intriguing to the listeners.
SK: It’s a great thing to do at an age so young so you should be really proud of yourself and I’ll be really looking forward to hearing your compositions. Thank you for that!