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Der Mann spricht mich nicht so sehr an. Powell da schon sehr viel mehr. Aber das ist halt die Geschmacksache...

Silas, kennst du schon SINBAD von HGW? Da kann ich mich meinem Vorredner nur anschließen. Der ist gaaaar nicht mal so übel. Ein richtiger schöner moderner Swashbuckler-Score.

Test it! :D

Cheers, Thomas

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Silas, kennst du schon SINBAD von HGW? Da kann ich mich meinem Vorredner nur anschließen. Der ist gaaaar nicht mal so übel. Ein richtiger schöner moderner Swashbuckler-Score.

Test it! ;)

Ich habe ihn hier und habe ansatzweise reingehört. Habe auch schon sehr viel positives gehört...vielleicht bin ich auch zu faul *schäm* aber jetzt werd ich ihn mir anhören, versprochen!! Les im "ich hörefolgendes Album"-Thread nach;)

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Ich kenne von HGW nur Kingdom Of Heaven und The Rock als CD. Im Ersten sind wirklich tolle Melodien, aber ich habe schon ähnlich gute Sachen von Zimmer gehört.

Nun seine Themen in den SHREK-Scores sind sehr schön. Aber meine Lieblingsmelodie stammt aus dem Score Team America. Abseits der Songs und des standardisierten Superheldenthemas gibt es in dem Track Lisa & Gary eine wunderschöne Klarinettenmelodie. Einfach toll! ;)

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Stimmt! TEAM AMERICA ist auch ein sehr unterhaltsamer, knackiger und durchaus parodisierender HGW-Score.

Ich habe ihn hier und habe ansatzweise reingehört. Habe auch schon sehr viel positives gehört...vielleicht bin ich auch zu faul *schäm* aber jetzt werd ich ihn mir anhören, versprochen!! Les im "ich hörefolgendes Album"-Thread nach

Mach ich! Bin gespannt. ;)

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Hier was interessantes, dass ich im Hans-Zimmer.com forum gefunden habe:

http://hans-zimmer.com/forum/viewthread.php?tid=5065

Staatsfeind Nr.1:

1 - Main Titles Trevor Rabin, Harry Gregson-Williams

2 - Enemy Of The State Main Theme Trevor Rabin

3 - Brill's Theme Harry Gregson-Williams

4 - The Ferry Harry Gregson-Williams

5 - Hotel Chase Part 2 Harry Gregson-Williams, Trevor Rabin

6 - Zavitz Chase Part 1 Harry Gregson-Williams, Trevor Rabin

7 - NSA Research Trevor Rabin, Harry Gregson-Williams

8 - Brill And Dean Meet Harry Gregson-Williams

9 - Free Ferry Trevor Rabin

10 - Nanny Drive Harry Gregson-Williams

11 - Final Confrontation Harry Gregson-Williams

12 - Coal Yard Part 1 Harry Gregson-Williams, Trevor Rabin

13 - Dace To Face Trevor Rabin

14 - The Tunnel Part 1 Trevor Rabin

15 - Coal Yard Part 2 Trevor Rabin

16 - Rachel's Found Dead Harry Gregson-Williams

17 - Wish You Were Here Trevor Rabin

Antz:

1 - Opening Title - Z's Theme Harry Gregson-Williams

2 - The Colony John Powell

3 - General Mandible Harry Gregson-Williams

4 - Princess Bala Harry Gregson-Williams

5 - The Bar John Powell, Geoff Zanelli

6 - "There Is A Better Place…" Harry Gregson-Williams

7 - "Guantanamera" - "6:15 Time To Dance" Pete Seeger, Julian Orbon, Jose Fernandez, Jose Marti, John Powell

8 - The Antz Go Marching To War Louis Lambert, John Powell

9 - Weaver And Azteca Flirt John Powell

10 - The Death Of Barbados John Powell

11 - The Antz Marching Band Harry Gregson-Williams, Steve Jablonsky

12 - The Magnifying Glass Harry Gregson-Williams, John Powell

13 - Ant Revolution John Powell

14 - Mandible And Cutter Plot Harry Gregson-Williams

15 - The Picnic Table Harry Gregson-Williams, John Powell

16 - The Big Shoe John Powell

17 - Romance In Insectopia Harry Gregson-Williams, John Powell

18 - Back To The Colony Harry Gregson-Williams, John Powell, Gavin Greenaway

19 - Z To The Rescue Harry Gregson-Williams, John Powell

20 - Z's Alive ! Harry Gregson-Williams, John Powell

The Rock:

1 - Opening Titles Hans Zimmer, Nick Glennie-Smith

2 - Hummel Gets The Rockets Nick Glennie-Smith, Harry Gregson-Williams

3 - Baby Doll Harry Gregson-Williams

4 - Rock House Jail Nick Glennie-Smith

5 - Hummel's Speech Hans Zimmer, Nick Glennie-Smith

6 - The Quarter Nick Glennie-Smith

7 - The Chase Nick Glennie-Smith, Harry Gregson-Williams, Don Harper

8 - Jade Nick Glennie-Smith

9 - Lift Off Nick Glennie-Smith

10 - The Furnace - Welcome To The Rock Don Harper, Nick Glennie-Smith, Harry Gregson-Williams

11 - The Shower Scene Nick Glennie-Smith

12 - Rodent Problem Harry Gregson-Williams

13 - The Morgue Harry Gregson-Williams

14 - In The Tunnels Harry Gregson-Williams

15 - Off The Track Nick Glennie-Smith, Harry Gregson-Williams

16 - Mason's Walk Nick Glennie-Smith, Harry Gregson-Williams

17 - Deadline Nick Glennie-Smith, Harry Gregson-Williams

18 - First Launch Harry Gregson-Williams

19 - Aftermath Nick Glennie-Smith

20 - Mutiny Nick Glennie-Smith, Harry Gregson-Williams

21 - Lighthouse Harry Gregson-Williams

22 - The Last Chip Harry Gregson-Williams

23 - Green Smoke Nick Glennie-Smith

24 - Safe Nick Glennie-Smith

25 - Fort Walton - Kansas Nick Glennie-Smith

Chicken Run:

1 - Opening Escape Harry Gregson-Williams, John Powell

2 - Main Titles Harry Gregson-Williams, John Powell

3 - The Evil Mrs. Tweedy John Powell, Harry Gregson-Williams

4 - Rats! Harry Gregson-Williams

5 - Chickens Are Organized John Powell

6 - We Need A Miracle Harry Gregson-Williams

7 - Rocky And The Circus John Powell

8 - Flight Training John Powell

9 - A Really Big Truck Arrives Harry Gregson-Williams

10 - Cocktails And Flighty Thoughts John Powell, Harry Gregson-Williams

11 - Babs' Big Break John Powell

12 - Up On The Roof Harry Gregson-Williams

13 - Into The Pie Machine John Powell

14 - Rocky, A Fake All Along Harry Gregson-Williams

15 - Building The Crate John Powell

16 - The Chickens Are Revolting John Powell, Harry Gregson-Williams

17 - Lift Off Harry Gregson-Williams

18 - Escape To Paradise John Powell

Shrek:

1 - Fairytale Harry Gregson-Williams

2 - Ogre Hunters - Fairytale Deathcamp John Powell

3 - Donkey Meets Shrek John Powell

4 - Eating Alone Harry Gregson-Williams

5 - Univited Guests Harry Gregson-Williams

6 - March Of Farquuad John Powell

7 - The Perfect King John Powell

8 - Welcome To Duloc Mike Himelstein, Eric Darnell

9 - Tournament Speech Harry Gregson-Williams

10 - What Kind Of Quest Harry Gregson-Williams

11 - Dragon! - Fiona Awakens John Powell, Harry Gregson-Williams

12 - One Of A Kind Knight John Powell

13 - Saving Donkey's As.s John Powell

14 - Escape From The Dragon John Powell

15 - Helmet Hair Harry Gregson-Williams

16 - Delivery Boy Shrek - Making Camp John Powell

17 - Friends Journey To Duloc Harry Gregson-Williams, John Powell

18 - Starry Night John Powell

19 - Singing Princess John Powell

20 - Better Out Than In - Sunflower - I'll Tell Him John Powell, Harry Gregson-Williams

21 - Merry Men Kirby Tepper, Andrew Adamson, Conrad Vernon

22 - Fiona Kicks A.ss John Powell

23 - Fiona's Secret Harry Gregson-Williams

24 - Why Wait To Be Wed - You Thought Wrong Harry Gregson-Williams, John Powell

25 - Ride The Dragon John Powell

26 - I Object John Powell

27 - Transformation - The End Harry Gregson-Williams

28 - It Is You (I Have Loved) Harry Gregson-Williams, John Powell, Gavin Greenaway

Armageddon:

1 - Prologue - 65 Million Years Later Harry Gregson-Williams, Steve Jablonsky

2 - Defcon 3 Harry Gregson-Williams

3 - Meteor Shower Harry Gregson-Williams

4 - The Hubble Harry Gregson-Williams

5 - Global Killer Harry Gregson-Williams

6 - Finding Grace Trevor Rabin

7 - Meet Harry Stamper - Oil Rig Trevor Rabin

8 - We Drill Harry Gregson-Williams

9 - Call To Duty Trevor Rabin*

10 - Harry Arrives At NASA Trevor Rabin

11 - Zero Barrier Harry Gregson-Williams

12 - The Freedom Crew Trevor Rabin

13 - 5 Words Trevor Rabin

14 - Demands Trevor Rabin

15 - X-71 Harry Gregson-Williams

16 - Weightless Simulation - Dottie Harry Gregson-Williams

17 - Flight Plan Harry Gregson-Williams

18 - Love Theme Harry Gregson-Williams

19 - Armadillo Trevor Rabin

20 - Underwater Simulation Trevor Rabin

21 - I Don't Wanna Miss A Thing Diane Warren, Harry Gregson-Williams

22 - Leaving Trevor Rabin

23 - The Destruction Of Shangai Harry Gregson-Williams

24 - Harry And Grace Make Peace Trevor Rabin

25 - Astraunots Harry Gregson-Williams

26 - The Launch Trevor Rabin

27 - Rendezvous Mir Steve Jablonsky

28 - Death Of Mir Trevor Rabin

29 - Fuel Pod Harry Gregson-Williams

30 - Radio Silence Harry Gregson-Williams

31 - Asteroid Chase - The Shuttle Crash Harry Gregson-Williams

32 - Goodbye Independence Harry Gregson-Williams

33 - Fallen Comrades Harry Gregson-Williams

34 - Survivors Harry Gregson-Williams

35 - The Drilling Commencing Harry Gregson-Williams, Trevor Rabin*

36 - Status Report Harry Gregson-Williams

37 - Secondary Protocol Harry Gregson-Williams

38 - Back In Business Trevor Rabin

39 - Armadillo Jump Harry Gregson-Williams

40 - Russian Hero Trevor Rabin

41 - Bad News Trevor Rabin

42 - A.J.'s Return Trevor Rabin

43 - Rockstorm Harry Gregson-Williams

44 - Draw Straw Trevor Rabin

45 - Sacrifice - Goodbye Grace Trevor Rabin, Harry Gregson-Williams

46 - Evacuation Trevor Rabin**

47 - Remote Detonation Harry Gregson-Williams**

48 - A Wing And A Prayer Harry Gregson-Williams, Trevor Rabin

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Gast Herby

Alter Schwede: Hans Zimmer hat bei The Rock nichts gemacht. Wo kriegt man die lange CD her? Ich hab nur eine mit 8 Tracks.

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Alter Schwede: Hans Zimmer hat bei The Rock nichts gemacht. Wo kriegt man die lange CD her? Ich hab nur eine mit 8 Tracks.

Das ist eine Promo bzw. ein Bootleg und darüber darf hier im Forum nicht geredet werden. Mehr Infos gibts in diesem Thread:

http://www.soundtrack-board.de/board/showthread.php?t=5215

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Was die Liste angeht... Das ist Großteils nur das, was der Thread-Ersteller denkt, vom Klang der Tracks her... nur teilweise das, was in den Album-Credits steht. Vor allem bei Bootlegs hat das nicht so wahnsinnig viel zu sagen, da da in der Regel gar nichts dazu bekannt ist :) .

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Gast Lareneg

Ich habe mal gelesen, dass "Jade" von HGW stammen soll. Aber vermutlich wird man wohl bei den meisten MV-Scores nie so genau wissen, wer nun was gemacht hat.

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Also es ist ja ungluablich, was MV da machte...ständig halfen HGW oder JP...

Unglaublich? Wieso? Mal davon abgesehen, dass mir sowieso nicht klar ist, ob du dich auf die oben genannten Scores beziehst oder das als allgemeine Aussage zu verstehen ist, ist das heute auch nicht anders - nur dass die "Helfer" jetzt Geoff Zanelli, Henry Jackman oder Ryeland Allison (und Co.) heißen, weil JP/HG-W (mit) dadurch ihren eigenen, recht erfolgreichen Weg gefunden haben.

Ich habe mal gelesen, dass "Jade" von HGW stammen soll. Aber vermutlich wird man wohl bei den meisten MV-Scores nie so genau wissen, wer nun was gemacht hat.

"Jade" klingt davon abgesehen auch star nach NG-S.

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Also es ist ja ungluablich, was MV da machte...ständig halfen HGW oder JP...

Glaub mir alle Komponisten haben ihre Helfer...ob sie nun Horner,Goldsmith oder Williams heißen.:)

Sie werden nur meist irgendwo kleingedruckt im letzten zehntel der End Credits eines Filmes erwähnt.^^

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Gast DaK

Das find ich an dem MV-Clan teilweise sehr gut, teilweise auch eben ein wenig bedrückend für Leute, die nie mal ihre eigene Chance bekommen. Beispielsweise HGW ('The Battle' aus Narnia, TOP!!!), John Powell oder auch Klaus Badelt haben alle ihre Chance bekommen... aber wer kennt schon die Namen von den Leuten, die sich bei Media Ventures eine tolle Karriere erhofft haben und letzten Endes nur die Noten ins Programm eingeben. Und um auf das Gerücht von ganz am Anfang dieses Themas zurückzugreifen (MV nach Europa), fürchte ich, dass neben ein paar jungen Leuten, die sich bei MV durchsetzen können, viel zu viele auf der Strecke bleiben würden... Leider ist Hans Zimmer da immer wieder sehr kommerziell orientiert, was ich extrem schade finde (ohne das auf seine Musik zu beziehen).

Grüße, David

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hey, vielen lieben dank für den link, den werde ich gleich auf meiner seite mit erwähnen!

aber ich muss noch was sagen...

also wer vergleicht "the ring" mit "veronica guerin"? das ist ja wohl mal zu übertrieben oder? Und selbst "Gladiator" mit "Kingdom of Heaven" zu vergleichen finde ich quatsch, das gibt es keine Ähnlichkeiten, nicht mal im Ansatz!

Man mag mich ja jetzt als HGW verfächter hinstellen, aber das kann ich nicht so stehen lassen.

Und was Powell betrifft, ich habe im letzten Bourne Streifen nur einen einzigen Track gefunden der mir gefiel, der rest wahr meines erachtens nicht die rede wert.

dann habe ich noch eine frage, wo ist die quelle für diese info?

HGWPROJEKTE...

The Ultra Payloaded Satellite Party (a Perry Farrell Album) (Conductor (5) songs))

würde mich freuen wenn mir da jemand helfen könnte, ich habe davon noch nichts gehört...

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Gast Elrond79

weiss jemand, wird es bald einmal eine complete score vom Narnia Prince Caspian geben? Da am schluss fehlt so viel, bei der schlacht wo die katapulte angreifen:music:

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Hier nein langes und ausführliches Interview mit Harry Gregson-Williams

Harry Gregson-Williams is a name familiar to movie-buffs. His compositions can be heard throughout myriads of films, including Spy Kids, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and Prince Caspian, and more recently, Cowboys and Aliens. He has worked alongside film-composing legend, Hans Zimmer, and has won 15 awards for his compositions.

I was recently given the opportunity to interview Mr. Williams for Teen Ink.

Rachel – Tell us about yourself.

Harry Gregson-Williams – Well, I work quite a lot! I came to America in 1995. I’ve got three little Yankee children, but I’m pretty English myself. (You can probably tell by my accent.) But I’ve been here since 1995, so I feel like I’ve been repatriated.

I love California! And that’s about it.

RH- How did you first become interested in music?

HGW- I guess, my parents probably are responsible for that. I was never forced to do music, but I can’t remember a time when I wasn’t playing music. So, what was my pastime just became my job, my hobby, my career; whatever you want to call it.

It’s difficult to keep an interest up, I think. I meet a lot of people who say, “My gosh, I wish I hadn’t given up the piano when I was however old, because I’d like to be able to play now.” But you can’t do everything.

But in order to be quite good at something you do have to go at it. That’s my experience. You have to go at it to the exclusion of almost everything else to really stand out.

But for me, my [family] all played musical instruments, so that [decision] was pretty easy. I had very rigorous and specific schooling at six years of age to [attend boarding school]. I moved away from home to a music school. [i went] to a university in the city of Cambridge, England. (It was started by Henry VIII, I think, so it’s goes a long way back; a lot of history.)

I did an audition [at the university] and got in. That’s where I started my musical education. I think I could probably read music better than I could read words at one stage. {laughs} I was learning by doing so much of it; reading music, playing music, singing music, whatever it was. I never really thought about doing anything else; music and sports were the only things I was ever any good at; the only things I was ever interested in. And those were the things that I really pursued.

RH- Why did you decide to turn your hobby into your career?

HGW- [There was a] really peculiar area of music, which I never thought of when I was a kid, which was film music. I never considered it; never even noticed that there was music in films. It was only relatively recently, my guess, [when I noticed it]. I was in my early thirties and I had been teaching music, performing music and all of that stuff, and someone pointed out to me the music playing in a movie. It was called The Shawshank Redemption; it had a lot of feeling in it and the most really pretty music playing. It made all the difference to the film, to me. I suddenly realized it was the music that was moving me, not necessarily just the picture.

And something just spoke to me then about the music and I never really thought about doing anything else after that.

I was very fortunate to bump into Hans Zimmer, who is one of the world’s leading film composers. I met him in London. Someone introduced him to me. He showed me what he was doing. He had just finished The Lion King (and he went on to win an Oscar for that). So, he was very popular and famous and I was quite star-struck really.

We struck up a great friendship, and he suggested I come back to America, which is where he lived and worked. I thought that was kind of a mad idea; who in the world would do that? [but he said], “What have you got to lose? You’re very musical. You could learn to be a film composer.”

So that’s what I did. I got a one-way ticket over to San Monica, which is where [Hans’] studio was and after a few years of learning the ropes, I struck out on my own. I transformed a space I found into a studio; a composing suite for myself.

And that’s where I am now. That’s it. You’ve got [my entire] history!

RH- {laughs} What exactly is the job of a composer?

HGW- {laughs} That’s a funny question! It’s only a funny question because I never really think of it as a job. What is the task? Yes. What does a film composer do?

A film composer helps the audience feel things that perhaps they wouldn’t otherwise. Or maybe amplifies feelings that are there on screen anyhow. Film composing can be very subversive, as well. For instance, if there’s a certain feeling of a certain movie, [such as] a couple who are in love and kissing, you’d put sort of lovey-dovey music; but say, for instance, it’s very sinister music, and you’re going to make the audience feel [that] something’s not right; “These two aren’t made for each other!”

Music is like another character in a scene. It can make a huge difference to how a scene is portrayed by the actors and received by an audience.

Ever since movies began, obviously they started out as silent movies, but very quickly [with] Charlie Chaplain movies and what-not, they started to have music with them.

Film scoring came quite a long time after that. [Film composing] is a great job! I can’t recommend it enough. I’ve had so much fun doing it! Because one gets to write music to various tunes—not just any old tunes!—There’s a process:

Once the director has chosen you, then there’s a moment before you start the voyage of composing all that music where you sit down and do what’s called a “spotting session”; [this is] where the director spots the moments that he wants the composer to write the music for.

So you don’t have a completely open book. It isn’t just see the movie and say, “Write a lot of music, and I’ll stick it in here and stick it in there.” No. We will go through it, scene by scene, saying, “No, this scene doesn’t need music here.” Or “This scene does need music. I’d like you to start a music cue when he walks into the room, and then a couple of moments later, as he’s running down that alleyway and gets shot by so-and-so; at that moment you can stop the music cue.”

Then at the end of a spotting session, once we’ve been through the whole film, spotted, say, 30, 40, 50, 60 moments where there should be music and there, you’ve got your task right in front of you. “Okay, I’ve got 40, 50, 60 music cues to write!” Then the music is designed for each of these little scenes.

[When we do this] the film is not necessarily finished because, if we waited until the film was finished and finally cut and all the dialogue and sound effects were perfect, we’re talking about that would be about two or three weeks before the release of the film in theaters. So that would be leaving it much too late.

So, we composers start as soon as post-production is really underway. In other words, you got pre-production when they’re preparing the script and hiring the actors; production when the actors are there, shooting the film; and then, when the actors go home and all the film is shot, everything goes back to an edit room where the director and the film-editor start to piece together the film. At that point, music starts to come into play. The director might not know quite how long he can hold a shot. Maybe there’s a scene in a movie where something really dramatic has happened and the camera is pulling back from that scene; the director might not know how long he can hold that scene.

How long should we wait? How long does the audience need to sort of recover from that moment? Or how long does the audience need to be able to think about what’s just happened? You can put music to that to help the audience feel what they’re going to feel. At that point, you’ve got to start thinking about how you’re going to use the music to, not just manipulate feelings, but to amplify feelings and a perspective that perhaps isn’t there. Perhaps the actor slightly missed it. Or [the director] didn’t quite shoot it.

I’ve done many films where there have been a few scenes which just haven’t been tense enough. (What was the last action movie I did?) Cowboys and Aliens! Possibly [Jon Favreau] might have asked me to look at a certain scene because perhaps it just wasn’t tense enough. Well, the music’s job there is very clear: rack up the tension and make sure that what I bring to that scene is what the director requires in order to deliver the goods.

Once the movie is spotted, I would go off and I’d know what I’d have in my sights. I’d know how many music cues I have and how many minutes of music I’ve got to write. It’s music to a deadline. This isn’t a job for anybody who thinks he’s going to sit in a courtyard, wait till the muse hits him like Mozart might have done.

No, no, no. This is a commission. People are paying you to come up with music by Wednesday afternoon, and if you don’t, well… It’s just like with any job; you could lose your job or you could scrub badly. So, there’s a certain amount of anxiety that goes along with being a composer but maybe that’s part of the fun of it all.

The last film that I did was Arthur Christmas. That score was quite orchestral. I needed a big orchestra in order to [create] all that music. I actually recorded that at Abbey Road Studios in London. It was about 75 minutes of music, so that’s quite a lot of music. You got to write it all, orchestrate it, make sure that the right parts are on the flutes’ music stands, the French horn, the cello, the piano, whatever and then I choose to conduct that session. So I get to be a conductor for a little while. Then once that’s recorded, it’s all got to be mixed and delivered to the final dub—where the director brings the final dialogue recordings, the final sound effects and the final music together. (It’s probably a rather dramatic room where this happens at the dubbing stage.)

This is normally a very, very long mixing [stage], because [the director] has lots of input coming into his mixing desk from the music department, from me, lots of sound effects coming in and lots of big dialogue scenes—crowd noises or whatever the movie needs. All of this has to be mixed together for the final dub which is what everybody sees in the theater.

So it’s pretty good fun and it’s a very collaborative exercise.

RH- Tell us about how you got the role of composer for the first two Narnia films.

HGW- I was really lucky to do the first two Narnias and I can tell you how I came to be so lucky: My name wasn’t pulled out of a hat; there was a certain amount of great fortune involved, but it was due to my relationship with Andrew Adamson, who directed the original Shrek and I think the second one as well. He became my friend and when he got the job of directing the first two Narnias, [he offered me the job] of composer.

In fact, I’m working for [Andrew] right now. The score that I’m working on right now is for something called Mr. Pip; it’s an independent New Zealand film. Andrew’s a New Zealander by nationality, so it’s a different [pace] for him ‘cause it’s a low-budget, indie drama. Not a big fantasy like Narnia.

RH- What role did you play in the Voyage of the Dawn Treader soundtrack?

HGW- Absolutely none, actually. When Andrew himself turned down the opportunity to direct the third Narnia movie, they hired another director and he had a composer who he had already worked with and that was David Arnold. So, David got the job to do that.

And David did call me and say, “You could send me your themes. I’m gonna see if I can incorporate them into the movie.”

I watched the movie with my son when it came out and I heard some of my original Narnia themes in there, from time to time. I thought [David] did a really great job!

But I had nothing to do with it. It was, you know, the director’s choice for a different composer.

RH- Alright. I was asking because on your Wikipedia page it says that you were a consultant for the film.

HGW- Yeah, I don’t know who writes that. {laughs} But they did use my themes in a couple of spots.

RH- What new projects are you currently working on?

HGW- Well, I’m working on Mister Pip and then, next year, I’m gonna be working on a big movie for Sony called Total Recall, which was a huge movie in, I believe, the 80s with Arnold Schwarzenegger. {laughs} This is a remake and it doesn’t involve Arnie this time. It’s Colin Farrell and Kate Beckinsale.

So I’m really excited to work for this director. I’ve never worked with him before. His name is Len Wiseman. So, I’m looking forward to doing that next year.

RH- What advice do you have for aspiring composers?

HGW- First thing, you’ve got to be really musical; second thing, you’ve got to sacrifice quite a lot in terms of film composing is very time intensive. Don’t expect to have too many weekends to yourself. But the rewards are massive in terms of the enjoyment. As I said at the beginning, it’s never felt like I’ve had a job, because music doesn’t feel like that to me. That’s the only path that I know.

[A way to] propel yourself forward into a chance of being a film composer is to work as an assistant to somebody who already is a film composer. [You'll be able] to see how it all happens and to make connections and move on from there.

Quelle: http://teenink.com/nonfiction/celebrity_interviews/article/423082/Composer-Harry-Gregson-Williams/

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Gelungenes Interview ja, wenn auch schon wieder etwas älter.

Er scheint ja gerade gar nicht mehr so arbeitswütig zu sein. Mal sehen, 2018 darf er ja mit MEG von John Turtletaub (der sich dann wohl gegen Trevor Rabin entschieden hat (oder musste)) mal wieder einen Blockbuster musikalisch untermalen.

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vor einer Stunde schrieb TheRealNeo:

Mal sehen, 2018 darf er ja mit MEG von John Turtletaub (der sich dann wohl gegen Trevor Rabin entschieden hat (oder musste)) mal wieder einen Blockbuster musikalisch untermalen.

liegt wohl eher daran, dass trevor noch auf tour mit ARW ist und somit auch keine zeit hat. er hatte sich ja deshalb auch ne auszeit vom filmmusik komponieren genommen.

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ja, ich würde auch mal gerne wieder einen score von rabin hören. vielleicht hat er ja nächstes jahr wieder zeit und lust. harry ist aber auch ne gute wahl und bei turtletaub dürften immerhin schon mal mit was thematischem rechnen.

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vor einer Stunde schrieb Lars Potreck:

liegt wohl eher daran, dass trevor noch auf tour mit ARW ist und somit auch keine zeit hat. er hatte sich ja deshalb auch ne auszeit vom filmmusik komponieren genommen.

arw? whats that?

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