Tobias Lilja
speaker
91 appearances
1 recordings
1 series
first heard Apr 2025
last heard Apr 2025
Tobias Lilja’s voice in public audio — every appearance, attributed to the second.
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add sound effects to the game.
Yeah, exactly. So I could focus on making sounds. I wasn't making music at that point. I was writing so-called music briefs for other composers. Which means that I kind of explain, like, this level needs this music. And I tried to kind of explain what kind of music we needed for another external freelancing composer. And I sourced a lot of references for music that we liked, that would fit.
And I also... Did you play LittleBigPlanet at all back in the day?
Yeah, they had this thing where you could, as a player, create your own levels. So we needed to create some kind of music library so players could pick a music track for their level. So one big part of the job was to kind of source, try to find music for this. I mean, existing release music.
Some of it was composed original music, but we also kind of sourced available release music from indie rock bands and stuff. So that was a big part of the job, just to find these tracks. And I did that work together with Sony. Martin Hewitt at Sony helped us to contact these record labels and license these tracks to the game.
I mean, audio, both sound effects and music is usually late. Like often it's kind of lasting. Really? Okay. Yeah. It's very common. That's interesting. But one thing, like game development, it's a lot about iteration. You do one version and then you change a bunch of stuff and then you keep doing versions all the time. So it's not very often you nail something on the first try.
It's a lot of kind of... You inch closer to the answer every iteration. And that's the same for all disciplines. Both level designers are kind of trying out... It's a lot of trial and error, essentially. You're building a layout of a level and you do some tweaks and...
it's the same thing for the artists that do that maybe the level art and it's the same thing for me like trying to i'm continuously tweaking both sound effects and music until everything fits and it takes a lot of time it's a yeah it's and it's a very it's uh it can be a bit of a lot a big headache um it's difficult to plan the work because everyone is working on everything at the same time it's kind of building like building a house changing all the time
Yeah, and it's changing all the time. And if the end result isn't that fun to play, you kind of have to rethink the whole thing. So it's not a guarantee that it will be fun in the end, even though it's like a perfect idea on paper.
I honestly kind of like that way of working trial and error and just trying it out and you have to kind of use your gut feeling all the time like is this cool is this fun and I kind of like that way of working
I don't have a formal music or composer training. I mean, I have three older brothers, and they all kind of listened to a lot of music when I grew up. And I was also listening to a lot of music when I grew up, especially electronic music. Yes. Do you have a favorite? Favorite music?
Yeah, I mean, when I grew up, I listened to a lot of techno, underground, like Chemical Brothers. I loved them when I was a kid. The Prodigy.
I was playing the trumpet from age 11 or 12 or something. I played that for a few years and had lessons in that. And I also played in a school band. Nobody didn't kick it out of their band. But the thing is, I never... I was much more interested in electronic music. My brother Joakim bought a sampler, like a sample keyboard.
It's not a synthesizer, but it's a keyboard that can record sounds and you can play those sounds on a keyboard. So he bought one of those and he kind of taught me how to use it. So that was kind of my first kind of... That was how I was making music when I was a kid. I was kind of sampling other people's music and putting it together, you know, kind of like old school hip hop.
sampling records and putting it together in some kind of collage fashion. So I was much more interested in that way of working, more than writing songs on the piano. I didn't really know how to do that, honestly. I've always been more interested in the sounds and how things sound and the textures, rather than the melodies and chords and lyrics.
And that's why I also was really interested in sound design for film, because that was more... That was working with that type of interest more than becoming like a composer because I wasn't really into being a composer. I mean, I don't really know how to write for an orchestra or something like that.
Thank you.
Yeah, I think one advantage I had was that we started working on the prototype that eventually became Little Nightmares back in 2014, I think. So I had the luxury to be part of that project from the start.
Since I was working at Tarsier, I was following the prototype, and I also had the opportunity to do sounds and music for the first initial vertical slice, the first prototype that we used to pitch the game to publishers. So I think that was a... That really helps if you're part of the project from the start. You can together really form an idea about the game together. It's much more difficult.
Like you say, if I would come in the last six months and just try to shoehorn in some sounds in there, that would be really difficult. So I'm a big believer in that you should involve audio designers really early on to... And it's also because you, when you're working with it, you have to be kind of marinated in it for a while to understand it. It's a good term.
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