Iron Man (Soundtrack) by Ramin Djawadi

 

 

Soundtrack Blog Soundtrack Reviews Soundtrack Features Soundtrack Forum Soundtrack Contest Soundtrack Shop About and Contact Home Listen or subscribe to our podcast - The SoundCast Follow us on Twitter Like us at Facebook Tracksounds:  The Film Music and Soundtrack Experience

QUICK-CLICK REVIEWS (Vol. 25)

Apocalypse World War II
The Best Exotic Marigold Hotel
Music from the Batman Trilogy
The Possession

FULL  SOUNDTRACK REVIEWS

Snowpiercer
How to Train Your Dragon 2
Dawn of the Planet of the Apes
Captain America:  The Winter Soldier
Rio 2

POPULAR FEATURES

2015 Cue Awards Show
In-Context- Guardians of the Galaxy

Interview: Jeff Russo
In-Context- Dawn/Planet of the Apes
Interview: Neil S. Bulk

LATEST PODCAST EPISODES

Twitter Response Show 1 (Ep 4)
The State of the Film Music Theme
The James Horner Legacy
2015 Cue Awards ReactionShow
2015 Cue Awards Show

 

 

May 30, 2008

 

Composer Harry Gregson-Williams
What Goes Around... - Page 2

 

 

 

 

 

 

 

 


  Interview: PAGE 1 | PAGE 2
  Music from
The Chronicles of Narnia: Prince Caspian
 


 

All Music Used by Permission

 

X-MEN ORIGINS: WOLVERINE opens in 2009

X-MEN ORIGINS: WOLVERINE opens in 2009

   
  Interview: PAGE 1 | PAGE 2

Composer Harry Gregson-Williams

CC: As you transition into new projects now, what do you do to wipe clean your mental and creative slate?

HARRY GREGSON-WILLIAMS: Well, I tend to listen to lots and lots of music that has nothing to do with films and are from many different genres. Also, since I've just started Tony Scott's next film, THE TAKING OF PELHAM 123, it's so utterly different from PRINCE CASPIAN, polar-opposites really, that it just helps me begin again. If I were to do another children's fantasy straight away, it would be quite tough.

CC: I read some interesting things about IMOGEN HEAP who wrote a beautiful song for THE LION, THE WITCH AND THE WARDROBE, "Can't Take It In" - that she also wrote a song for PRINCE CASPIAN but it was rejected because it was too dark. Did you personally hear the song and have any input there?

HARRY GREGSON-WILLIAMS: Yes. Absolutely. Imogen (Heap) has become a great friend. I sat down with Andrew (Adamson) regarding her song. She is utterly loyal, but I think she was just in a spot where what she wrote was not quite what we thought was the right thing for the end of PRINCE CASPIAN. It was a very beautiful song though - as you would expect from her.
 

CC: I'd like to ask you about WAVECREST STUDIOS - the studio you've set up for yourself and the composers who are privileged enought to work with you there.

HARRY GREGSON-WILLIAMS: Well, you know, what goes around comes around basically. As you probably well know, I got a great start in this business from HANS ZIMMER. He took me under his wing at at time when there were only a couple of us at Meda Ventures. It seems to me that this is necessary for young people trying to get a start in this industry. I don't know how you would break into this business otherwise. So, in my own way, I wanted to pass along what Hans (Zimmer) had done for me. I have a couple of young guys who have worked really hard for me and it all happened just at a time when they needed a break to get into this business.
 

CC: Like in the case of David Buckley.

HARRY GREGSON-WILLIAMS: Yes. Joel Schumacher, after THE NUMBER 23, said to me, "Harry, I'm going to shoot a little horror film called TOWN CREEK but I don't think you are going to want to do it." But of course I said, "I'll do whatever you ask of me." However, when I looked at the timing of the project, it was going to be very difficult for me to do. He was very open-mined about DAVID BUCKLEY scoring it, as long as I might attend the occasional music meeting and keep an eye on things and, if need be, help solve any problems that might pop up.
 

CC: Was this a similar situation to composer Stephen Barton?

HARRY GREGSON-WILLIAMS: Yes. A couple of years earlier he got to score one of DAN IRELAND's movies. I've scored a lot of Dan Ireland's movies as he has become a great friend of mine. For MRS. PALFREY AT THE CLAREMONT, I was again in a position where I just couldn't write the score, so I introduced him to Stephen (Barton) and he did a great job. I just don't know, as a young composer, how you can get your start in this business, so that is why I say, "What goes around, comes around," because I was very fortunate in this way myself.
 

CC: Let's jump back to DAVID BUCKLEY and his score for THE FORBIDDEN KINGDOM. You are credited as "Score Producer" on that film. What was your particular involvement on this project?

HARRY GREGSON-WILLIAMS: I was a general support for David and a safety-net for the film-makers. At that particular point, David (Buckley) didn't have too many film credits under his belt, so hiring him was a credit to the imagination of the film makers. David wrote every single note of that score. I wasn't called in to save the day. Nothing went so badly wrong, but I was there lest I was needed. So I was primarily there to encourage David, especially early on.
 

CC: So do you feel a similar satisfaction with seeing the success of a Stephen Barton or David Buckley to completing a score yourself?

HARRY GREGSON-WILLIAMS: Or course. Absolutely. It is no surprise to me, though, as they are both talented people and are heading down the right path.


CC: So you are working on Tony Scott's next film now, THE TAKING OF PELHAM 123, but you've got some other big projects on the horizon as well: WOLVERINE and G-FORCE.

HARRY GREGSON-WILLIAMS: Yes. WOLVERINE with Gavin Hood, which I'm really looking forward to. What really attracted me to the project was Gavin. I happened to meet him at the Golden Globes dinner about three years ago. That night we were both nominees, but both losers. He had been nominated for TSOTSI and during the dinner I had spoken to him and he seemed like a really smart and creative guy...and into music. So I was really delighted when I got a call to meet him and discuss the possibilities for WOLVERINE.


CC: And you have G-Force which will be early next year. Are there any other projects in-between?

HARRY GREGSON-WILLIAMS: (laughs) Probably, but I'm focused on what's happening now.


CC: Thank you so much for taking the time today.

HARRY GREGSON-WILLIAMS: Thank you very much, Chris.



Return to (Page 1)

 

More Interviews

   

Jeff Russo (2014)
Neil S. Bulk (2014)
Sean Callery (2014)
Trevor Morris (2014)
Oscar Araujo (2014)
Tom Salta (2013)

Jesper Kyd (2012)
Kim Planert (2012)
Robert Duncan (2012)
Sam Hulick (2011)
Alan Menken (2010)

Mark Griskey (2010)
Tom Hajdu (Tomandandy) (2010)
Doug Adams (2010)
Sean Williams(2010)

Jamie Christopherson (2010)
Tomoya Kishi & Marika Suzuki (2010)

Clinton Shorter (2009)
Brian Tyler (2009)
Ed Lima and Duncan Watt (2009)
Sean Murray (2008)

John Ottman (2008)
Inon Zur/ Stuart Chatwood (2008)
Jesse Harlin (2008)
Jeff Beal (2008)


 

Miho Nomura (2008)
Mark Griskey (2008)
Harry Gregson-Williams (2008)
Jeff Rona (2008)
Hans Zimmer & James Newton Howard (2008)
Ramin Djawadi (2008)
E.S. Posthumus (2008)
Tyler Bates(2008)
David Buckley (2008)
Christopher Lennertz (2006)
Harry Gregson-Williams (2005)
Kaveh Cohen & Michael Nielsen (2008)
Christopher Lennertz (2008)
Sascha Dikiciyan & Cris Velasco (2007)
James Dooley (2007)
Jesper Kyd (2007)
Garry Schyman (2007)
David Robidoux (2007)
Scott Glasgow (2007)
Tyler Bates (2007)
Jamie Christopherson (2007)
Mychael Danna (2007)
 
Howard Shore (2006)
Trevor Rabin  (2006)
John Debney
Greg Edmonson
Christopher Lennertz (2003)
Erik Lundborg
Ron Jones
Edward Shearmur
Christopher Lennertz (2002)
Thad Spencer
Don Davis (2001)
Hans Zimmer
Conrad Pope
Michael Giacchino
Don Davis (1999)
Jeff Rona (1999)

 

   


   

 

Home  |  Soundtrack ReviewsBlog |  Podcast | News Forum  |  Features  |  About  |  Advertise  |  Links   | Shop  

YesAsia.com - Asian Entertainment products CD Universe - Music, Movies, & Games At Low Prices! iTunes Logo 88x31-1

Copyright 1998 - 2009. Tracksounds:  The Film Music Experience.   All rights reserved. This material may not be published, broadcast, rewritten or redistributed in any form.  All compact disc artwork is property of the specified record label and appears here for informational purposes only.  All sound clips are in Real Audio format or mp3 and are the exclusive property of their respective record labels. Contact the Webmaster