Pinar Toprak - Interview (engl.) - Spezial 
Originally born in Istanbul, Pinar Toprak is a very talentated composer, who gained respect in the USA very quickly, although she is at young age. She worked as a film composer before, while she cooperated with the world famous composer Hans Zimmer, as well. N3: Ninety-Nine Nights is her very promising debut as a video game composer and we are very proud to present an exclusive interview with her.
Interview by André Mackowiak (JG).
JG: When did you discover your passion for music?
Toprak: Actually, my father discovered it before me. He was the one who insisted that I audition for the conservatory before I knew what conservatory meant. Over the years I studied several instruments but I think I was around 16 when I realized that I enjoy writing music more than performing. That’s when I made the decision to move to America and study film scoring and eventually move to Los Angeles and pursue my passion even further. </font>
JG: Apart from many other subjects, you studied composition first. Later on, you decided to combine music and film, before you finished your Bachelor’s degree in Film Scoring and your Master of Music in composition. To be honest, I don’t know that many female film composers. Do you have an explanation why there seem to be less women in the film branch than in the traditional composition-sector?
Toprak: I don’t have an explanation but I have theories. Unfortunately we live in a world where people don’t prefer to take risks and it is still considered risky to hire a female composer. Mainly because there are not many examples of women who get hired to write in a style that would normally be considered a “male genre” and even when there are, they are not given the same chances as a male composer to prove themselves. I believe it’s a catch 22 that will be solved over the years by talented, smart and patient female composers and by filmmakers who will be able to trust that music has no gender.
JG: You worked at Media Ventures, which is known for its world famous composer Hans Zimmer. As a composer, he was responsible for big milestones in the film history. Your website has mentioned that you joined him during movie projects like Pirates of the Caribbean, King Arthur and Last Samurai. I found out that Hans Zimmer personally thanked you in the booklet of the Last Samurai O.S.T., for example. In which way did you contribute to his work and what role does he play in your career?
Interview by André Mackowiak (JG).
JG: When did you discover your passion for music?
Toprak: Actually, my father discovered it before me. He was the one who insisted that I audition for the conservatory before I knew what conservatory meant. Over the years I studied several instruments but I think I was around 16 when I realized that I enjoy writing music more than performing. That’s when I made the decision to move to America and study film scoring and eventually move to Los Angeles and pursue my passion even further. </font>
JG: Apart from many other subjects, you studied composition first. Later on, you decided to combine music and film, before you finished your Bachelor’s degree in Film Scoring and your Master of Music in composition. To be honest, I don’t know that many female film composers. Do you have an explanation why there seem to be less women in the film branch than in the traditional composition-sector?
Toprak: I don’t have an explanation but I have theories. Unfortunately we live in a world where people don’t prefer to take risks and it is still considered risky to hire a female composer. Mainly because there are not many examples of women who get hired to write in a style that would normally be considered a “male genre” and even when there are, they are not given the same chances as a male composer to prove themselves. I believe it’s a catch 22 that will be solved over the years by talented, smart and patient female composers and by filmmakers who will be able to trust that music has no gender.
JG: You worked at Media Ventures, which is known for its world famous composer Hans Zimmer. As a composer, he was responsible for big milestones in the film history. Your website has mentioned that you joined him during movie projects like Pirates of the Caribbean, King Arthur and Last Samurai. I found out that Hans Zimmer personally thanked you in the booklet of the Last Samurai O.S.T., for example. In which way did you contribute to his work and what role does he play in your career?
Toprak: Hans Zimmer was the reason I wanted to get into film scoring. His music always inspired me and while I was in Istanbul I made it my goal to get a chance to work with him someday. I was fortunate enough to be involved during those projects mainly as his sample/synth programmer. He still is one of my biggest influences and I certainly have learned a lot while I was at Media Ventures and like many young composers I owe a lot to him.
JG: You started scoring for video games, as well. Was Ninety-Nine Nights your first video game project?
Toprak: Yes.
JG: How were arrangements made for N3? Who has contacted you?
Toprak: I scored the E3 trailer for N3 and that led to the game itself.
JG: How did you experience your cooperation with the Japanese development team? Have you visited them in Japan?
Toprak: I have not visited them in Japan but I’ve certainly been invited several times and I’m hoping to go and visit them at some point.
How many songs did you compose for the game’s soundtrack?
Toprak: Several. There are more than 100 minutes of music in N3.
JG: How were your experiences with making this soundtrack? Is there a difference between composing for a game or a film?
Toprak: My experience of scoring for N3 has certainly been different from any of the movies I have worked on. While I was working on N3 I did not have in game cinematics for a while, therefore composed most of the music based on the idea and the story of the game, which was challenging. I had several internet conferences with Mr. Mizuguchi and several other developers and we came up with a general tone and sound that was satisfying for all of us. I find it relatively easier to write for films as the film itself becomes the melody and it usually leads me to what I need to write. There are certainly advantages and disadvantages with both ways of working but at the end of the day what I do is the same, which is writing music :-).
JG: You started scoring for video games, as well. Was Ninety-Nine Nights your first video game project?
Toprak: Yes.
JG: How were arrangements made for N3? Who has contacted you?
Toprak: I scored the E3 trailer for N3 and that led to the game itself.
JG: How did you experience your cooperation with the Japanese development team? Have you visited them in Japan?
Toprak: I have not visited them in Japan but I’ve certainly been invited several times and I’m hoping to go and visit them at some point.
How many songs did you compose for the game’s soundtrack?
Toprak: Several. There are more than 100 minutes of music in N3.
JG: How were your experiences with making this soundtrack? Is there a difference between composing for a game or a film?
Toprak: My experience of scoring for N3 has certainly been different from any of the movies I have worked on. While I was working on N3 I did not have in game cinematics for a while, therefore composed most of the music based on the idea and the story of the game, which was challenging. I had several internet conferences with Mr. Mizuguchi and several other developers and we came up with a general tone and sound that was satisfying for all of us. I find it relatively easier to write for films as the film itself becomes the melody and it usually leads me to what I need to write. There are certainly advantages and disadvantages with both ways of working but at the end of the day what I do is the same, which is writing music :-).
