Interview from Core Magazine, translated by Jeff Williams.

Question(S): Can you describe your first experience in creating game music?
Uematsu-san(U): The first piece of music I ever created for a game was on PC88 for a game called 'Blasty.' I created three, maybe even five songs. Back then the most advanced soundchip was the PSG (Programmable Sound Generator) used in the MSX.

S: Shortly thereafter Square contacted you?
U: At that time, Square didn't have anyone in charge of their soundtracks. So they asked me; 'Will you give it a shot?'

S: One of your first projects at Square was Final Fantasy, what did you think when it actually went on sale?
U: I wasn't aware that I was going to be working on a series starting with my first project. Mr. Sakaguchi told me he didn't want to try and compete with Enix and their Dragon Quest series either. When I listened to the music from the DQ series, I noticed Mr. Sugiyama's rigidly classical style. I didn't want to create that type of music. In fact, I couldn't, even if it was demanded of me. [smiles..] So I didn't approach Final Fantasy with any specific ideas.

S: Did you have any problems working with Nintendo's sound libraries?
U: Yes, there was only three types of sounds, and no room to play around. You had a low channel, a mid-range for arpeggios, and then a top channel for melodies. Alternately, you could use the low end for arpeggios and then use the other two for melody and its echo in order to give off a somewhat eerie, floating sound. I wasn't trying to do much else, so there was nothing to worry about.

S: How did the Super Nintendo compare to the NES in terms of sound development?
U: I regarded it as a synthesizer, in a way. Before, I was unable to do any sort of orchestral work, but with the advent of the SNES I could sample the sound of a trumpet, things like that. I felt as though I was able to do a lot more.

S: Did you think you could create something revolutionary?
U: Well, when I aim too high I usually screw things up. [laughs..] I didn't have any specific goals. I made decisions and compositions based on what I was up to. I never really create something with a 'This time, I must include this..' mindset.

S: Once development shifted to the SNES completely, did you know Final Fantasy was quickly becoming a popular series?
U: By that time things had become structured. I had already created themes for the Chocobo and Crystal Harp that would stretch the series. I began to realize the necessity of creating recognizable forms and themes. But I still didn't have definitive patterns for songs because the melodies were changing.

S: Did you keep making subtle changes to the music to make players think about previous titles in the series?
U: Yes, I kept trying to perfect melodies with the knowledge that the series was continuing.

S: When Final Fantasy eventually shifted to the PlayStation, some people had the impression that the series had lost its direction since FFVI. With Final Fantasy IX, Square focused on a return to the past. Did you also make a shift towards creating more traditional Final Fantasy-style music?
U: Nobody requested that I return to the old sound. When I started creating the music, I felt absolutely pulled in by the images and the story of the game. In that sense, considering how different FFVII & FFVIII are from FFIX, the music should be completely different as well. The fact that people notice a difference makes me feel like I did something right.

S: Altogether, how many songs did you create for Final Fantasy IX?
U: I'm not sure exactly, about 150-160.

S: Songs like the battle theme make players think of previous titles in the series.
U: Now that was intentional. [laughs..]

S: Other subtle melodies from past games are in FFIX also, right?
U: Yes, like the Crystal Harp. It happens in one secret place. [laughs..] A few of my past melodies pop-up here and there in the game.

S: Most of the characters in Final Fantasy IX have strong personalities, did you try and reflect that in the music?
U: Oh yes. For example, Steiner is an obstinate character but a gentle guy reflected within. So he has a comical feel, really.

S: So when you create songs, do you try to base them on character sketches and storyboards?
U: The inspiration really comes from the game. Also from the event scenarios and such.

S: Altogether, how long did it take to create the music for FFIX?
U: Relatively long, a little less than a year.

S: Within that time, there must have been songs that were completely scrapped. Of those songs, were there any parts you really wanted to use in the game?
U: Certainly, there were. Like the main theme, whenever I start a project I finish the main theme first. I realize it's the music that plays over the main map screens. Initially for FFIX, I created a main theme and I thought I had a good tune. But there was no real place for it, and it ended up just floating out there, unused.

S: So sometimes you have to make complete changes in the middle of development?
U: Yes, that happens. First I worked on the character themes, and through plot meetings we determined how many songs we needed in specific places. I write the music with no real knowledge of how it will look on-screen. That work is being done simultaneously. I would like to create music after seeing everything finished onscreen, but there's no time for that.

S: What about FMV sequences?
U: Those are enjoyable, I usually write songs faster then, three or four per day.

S: Do you have any trouble writing for FMV sequences because of the way everything is timed?
U: Yes, that's somewhat of a problem. There's also the problem of loading time, and it makes rapid changes problematic. That's what's so stressful about writing music for games.

S: It seems like the PlayStation2 offers some solutions in terms of loading time though, right?
U: Yes, it does. In terms of sonic capabilities though, the PlayStation2 doesn't really differ from the PS. You can't do anything that couldn't already be done on the PS. That's more of a hardware issue I suppose. Still, there's a number of things we weren't able to accomplish on the PS, and I'd like to explore them on PS2.

S: Speaking of the PlayStation2, Final Fantasy X is scheduled for release next spring. How is development coming along?
U: I've been working on it, but, I haven't been able to 'get in the groove' yet. [laughs.]

S: On Square's PlayOnline website you've been publishing an online diary?
U: Ahh, my bleak diary. [laughs..] It's been a mentally tough period lately, so its like 'I don't have anything interesting to tell you now.' [laughs..] Lately I haven't been limiting it to Final Fantasy though, it's more of what I feel. I am making progress on my projects though. You know how it is, day in and day out. Still, I find it hard to return to my normal life when I finish a game, I feel useless, and can't wind down and catch my breath.

S: I guess that means you usually work long hours?
U: In the case of Final Fantasy IX, yes. I set myself up to do it. I came into the office about ten every morning and worked until eleven at night. The easier things are, the more you tend to run away from them I guess.

S: What about your workload, about how many songs did you create each day?
U: It was pretty consistent. Well, not really. [laughs..] I can't say. At some points it's hard to work. It happens, things get tough.

S: By now you've had a chance to play through Final Fantasy IX, what were your thoughts of the finished product?
U: Yes, well, in short, it's gimmick-free. It's a good game, and it didn't need anything special to sell. No cheap effects, or stylistic departure. It's just a strong, traditional, very well-made game. These days, it's surprisingly difficult to find a game like that. Now matter how fantastic the graphics or sound are, if the game isn't entertaining, what's it worth? There's no point in creating games for technical merit, regardless of whether the characters have spoken dialogue or network capabilities. You simply can't rely on the latest technological advances in order to sell games. If the game's no good, then, well, you know, it's no good. And in that sense, I think FFIX is just a strong and cleverly made game.

S: What about FFVII and FFVIII?
U: Many factors contributed to their success, including good timing and marketing. However they're different than FFIX. I imagine the development team had to withstand serious tremors to their self confidence this time. Like 'Is this really good enough?' Things like that. I'm impressed by how they kept going and managed to stay on track despite their anxiety. It must have been one of the scariest development periods ever.

S: When you finished, were the graphics and everything else essentially done?
U: It was in the final stages. The characters and storylines were completed about a year earlier though. At another company they could have left those things for the end. Like 'Oh we changed the ending, so you're going to have to redo the music.' [laughs..] I'm glad I'm able to say that.

S: It would be extremely hard the other way around.
U: With Square, they're very careful about the music, so there's a good sense of give and take. Discussing what can and can't be done, what's needed, and gaining a better perspective on certain projects. That sort of thing. That's exactly how we worked on FFIX. Since the beginning, Square has been an honest hardworking group of individuals. And in the course of working on FFIX, that was reaffirmed again and again. We accomplished a lot together