Email I sent to George Sanger posted:

Hey there Mr. Sanger,

I've got some questions both from me and some of the thread readers, who were pretty excited to hear that I contacted you. First, the easy ones from them:

* "What is the process like? Does he see game footage and compose music for that, or is he told generally what the mood will be like or what the scene is about and have to try to fit that? How much interaction does he have with the rest of the design team, and how much input does everybody get into where the music goes? How many tracks does he generally submit to a developer v.s. how many are put into the game? Also tell him his portrait rules."


* "Does he prefer making (or just enjoying) game soundtracks with fully realized discrete songs or them new-fangled adaptive soundtracks that change with the gameplay? Like a game that has 'exploring' songs and a 'fight' song or two versus something with various themes and tempo shifts for different situations. Also, does he have a preferred instrument for composing or performing? Keyboards/pianos? Guitars? Sequencer? Humming?"



And now, some ones from me:

* What was the development atmosphere like, coming out of the 7th Guest and going right into development for The 11th Hour? I know that budgeting was a huge concern, especially in terms of cinematography, but I'm curious to hear from an insider what things were like for the big names in the company, like David Wheeler, Matt Costello, and of course Graham Devine and Rob Landeros. This includes yourself, of course.


* What was different about the soundtrack of The 11th Hour, and what kind of adjustments did you have to make between games in terms of in-game integration and overall composition? Were you forced to make sacrifices in musical or midi quality in order to compose The 11th Hour?


* What is your overall opinion on The 11th Hour Project? Do you feel it met expectations, or do you think it could have been improved upon before release? If so, what were the areas that needed tweaking?