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Drama Period. Interview with Trevor Morris
 

 

INTERVIEW WITH TREVOR MORRIS

Richard Buxton chats with Trevor Morris about some of the prolific composer's most recent work spanning across video games, feature films and some of television's most popular period dramas.


RB - You spent a number of your career’s earlier years at Remote Control Productions providing additional music to scores headed by the likes of Hans Zimmer and Steve Jablonsky. Looking back, how valuable was that experience both as a learning process and as a career path?

TM - I’m very grateful for that time and the experiences that went with it.

RB - How much influence does a composer of additional music have when scoring a film?

TM - Not much influentially. The composer is the leader, or “chef”.

RB - In 2013 you scored five television shows as well as the feature film Olympus Has Fallen. How do you manage to juggle such a large amount of work?

TM - Schedules fall in different ways that help allow multiple projects to happen, but that was a particularly busy time to be sure!

RB - Do you ever find themes or ideas from one show creeping into another given their proximity?

TM - No, not really. It’s very important to me, and inherent in the nature of different projects, to want and deserve original ideas.

 

Composer Trevor Morris in studio



RB - A lot of your television work has been on period dramas such as The Tudors, The Borgias, as well as the upcoming second seasons of Vikings and Reign. Is a historical setting something that particularly attracts you to a project?

TM - Funny enough, no! I was sort of the go to “action” guy for a while, and then “The Tudors” kind of changed the landscape, or at least my landscape. It’s hard to be anything but entirely grateful for being accomplished at “period drama.” I’m proud of it.

RB - You’ve been honored with two Emmy awards for “Outstanding Main Title Theme Music”, for The Tudors in 2007 and The Borgias in 2011. How long does it generally take you to conceive the main title music for a television show?

TM - Usually the initial idea comes quite quickly… the execution of that idea takes forever!

RB - What’s your average turnaround for a single episode’s music?

TM - I would say on the low end: 3 days. On the luxurious side: 10 days.

RB - How does your approach to scoring television differ to your approach to scoring features, and do you have a preference?

TM - For me personally, they are virtually the same. It starts with a visualization of what the score should “feel” like, almost a textural type of feeling. Then onto composing melodies, and then onto doing the cue by cue nature of the work. For me, that’s my process, TV or feature. I have no preference, only the preference to work on the best story I can.

RB - Between 2006 and 2009 you scored four video games (NFS: Carbon, C&C3: Tiberium Wars, Army of Two, Marvel: Ultimate Alliance 2), but haven’t scored any since. Do you have any plans to return to video game scoring, and is there any franchise you’d be particularly interested in working on?

TM - I am working on “Dragon Age: Inquisition” for EA / BIOWare as we speak, and having a blast! I’d love to do “Call of Duty” or “Halo.”

RB - Your Bio states that at age 13 you wrote a piece that was performed by your graduating class for the visiting Pope John Paul. How pivotal a moment was that for you, and listening to that piece now, could listeners identify any particular traits that continue to appear in your music today?

TM - I would love to think so. I think any artist would love to have identifiable, recognizable traits. To me, it’s the litmus test of a great artist. It’s something I am always aware of and following…continually finding my own voice. My wife can pick out my music in a crowd, so that’s not so bad.

 

You can find out more about Trevor Morris and his current projects at his OFFICIAL SITE

BUY ORIGINAL SCORES BY TREVOR MORRIS AT AMAZON.COM

 

 

BUY ORIGINAL SCORES BY TREVOR MORRIS AT AMAZON.COM


 

 

 

 

 

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