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Interview: Harry Gregson-Williams ("The Number 23"
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PostPosted: Sun Feb 18, 2007 12:17 pm   Post subject: Interview: Harry Gregson-Williams ("The Number 23" Reply with quote


THE NUMBER 23
FEATURING ORIGINAL MUSIC COMPOSED BY
HARRY GREGSON-WILLIAMS




ORIGINAL MOTION PICTURE SOUNDTRACK OUT ON
NEW LINE RECORDS FEBRUARY 20TH


(Los Angeles, CA – February 8, 2007) Jim Carrey makes a rare dramatic turn for the film The Number 23. The film, which was directed by Joel Schumacher, features a soundtrack composed by Harry Gregson-Williams (The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe, Shrek), in stores on February 20th. This film marks Gregson-Williams’ third collaboration with the director.

Animal control officer Walter Sparrow (Jim Carrey) has found a book he doesn’t dare put down. By reading the mysterious novel “The Number 23” given to him as a birthday gift by his wife Agatha (Virginia Madsen) Walter twists his once placid existence into an inferno of psychological torture that could possibly lead him to his death or that of his loved ones. All this because of The Number 23.


Harry Gregson-Williams

Harry Gregson-Williams is one of Hollywood’s most sought after composers, working on a variety of high-profile projects, both animated and live-action. Born in England to a musical family, Gregson-Williams earned a scholarship from the music school of St. John’s College in Cambridge at the age of seven. By age 13, he had been a soloist on over a dozen records, and then earned a coveted spot at the Guildhall School of Music and Drama in London. He started his film career as an orchestrator and arranger for composer Stanley Myers, and went on to compose his first scores for the veteran English director, Nicolas Roeg. Gregson-Williams’ initiation in to Hollywood film scoring was then facilitated by his collaboration and friendship with Oscar®-winning composer Hans Zimmer.

It was 1997’s Smilla’s Sense of Snow that earned Gregson-Williams international acclaim, followed by 1998’s Antz, which he co-wrote with John Powell. Since then Gregson-Williams has generated an extensive body of work that includes the scores for Bridget Jones: The Edge of Reason, Domino, Kingdom of Heaven, Veronica Guerin, Shrek, Shrek 2, Chicken Run and The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe, for which he was nominated for a Golden Globe and Grammy. He most recently composed the scores for Déjà Vu, Shrek the Third, and Seraphim Falls.

New Line Cinema presents The Number 23. Directed by Joel Schumacher, and starring Jim Carrey, Virginia Madsen, the film will be in theaters on February 23, 2007. The New Line Records soundtrack will be in stores on February 20, 2007.
_____________________________________________

DEADLINE for SUBMITTING QUESTIONS: Friday, March 9

We invite you to submit interview questions for Harry Gregson-Williams. General or philosophical questions are welcomed, but ones specific to his career and important or current works would be especially good. Thank you.


Last edited by Twopop on Sat Mar 10, 2007 5:09 pm; edited 2 times in total
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PostPosted: Sun Feb 18, 2007 1:07 pm   Post subject: Reply with quote


How did you end up co-scoring with John Powell, and how did that improve on the scores?

In what way have Media Ventures helped you, and how is it working with such a team of composers?

In your life, is there anything you regret (regarding both life and scores)?

What do you consider your crowning achievement?

Do you make any template scores to any movies, and do you take those template scores into account when you yourself is scoring a movie?

Of all the directors you've worked with, who had the greatest sense of music and what was needed for the movie?
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PostPosted: Wed Feb 21, 2007 12:39 pm   Post subject: Reply with quote


How hard was it to score the Metal gear solid series vs. a film score? Do you take the over all game story and think as it is a moive?
Are you hoping to have the chance to score the soundtrack for the metal gear soild moive now that there will be one made?
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PostPosted: Sat Feb 24, 2007 4:40 pm   Post subject: Reply with quote


First of all: pure awesomeness. He is really one of my favourite composers.

I have heard very different scores with different styles and foreign instruments. Where are those ideas coming from, is it all in the composer's head or does it involve a lot of research about the movie content?


On a lot of scores there is a collaboration with with different singers like Lisa Gerrard. How does a collaboration like that start?
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PostPosted: Sun Feb 25, 2007 1:22 am   Post subject: Reply with quote


What got you interested in music and composing?

I love the music for the Lion, the Witch, and the Wardrobe. Do you think about composing for a magical, fantasy world differently than you do for something set in reality?

What instruments do like to compose for the most?
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PostPosted: Sun Feb 25, 2007 5:26 am   Post subject: Reply with quote


What are your favourite activities other than composing?

What are you usually doing (and maybe where?)during your holidays?

How long vacations do you take? Do you have time for holidays at all?

At what time do you usually get up and go to bed?

Were you always planning to become music composer? If not, please tell us who were you dreaming to become being a little boy.
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PostPosted: Mon Feb 26, 2007 1:38 pm   Post subject: Reply with quote


Do you prefer composing for live action or animated or both type of films?
What inspired you to compose music for the Chronicles of Narnia:LWW?
Are you going to do the soundtrack scores for the next Chronicles movie? If so, will you include vocal music?
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PostPosted: Thu Mar 01, 2007 10:05 am   Post subject: Reply with quote


how does the collaborative process work, when writing with other composers?

do you have a favorite collaborator? (director and/or composer)

do you have a favorite score from your own collection, and if so, which is it and why?
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PostPosted: Thu Mar 01, 2007 2:33 pm   Post subject: Reply with quote


How did your collaboration with counter-tenor Iestyn Davies (on Kingdom of Heaven) come about? Tell us a bit about what it was like to work with him.

You have produced some very highly-regarded scores that make heavy use of electronics as well as some purely orchestral scores. How is this instrumentation choice made, and when during production does it generally occur? How does your approach to the project differ when using electronic elements versus an acoustical project? With virtually limitless options in instrumentation (acoustic instruments, synthesized sounds, digital samples), how do you decide when a score or a particular track is complete?
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PostPosted: Mon Mar 05, 2007 11:38 am   Post subject: Reply with quote


DEADLINE for SUBMITTING QUESTIONS: Friday, March 9
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PostPosted: Fri Mar 09, 2007 1:12 pm   Post subject: Reply with quote


Love Gregson Williams!!! Very Happy Thanks for all your awesome work!


What composers have inspired your works?

Do you have any favorite style of music over others?

When composing a piece of music, what is the easiest and hardest parts?

Is there an upcoming movie you are hoping to write a film score for?
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PostPosted: Fri Mar 09, 2007 1:20 pm   Post subject: Reply with quote


Oh got another one.


What is the reason for choosing Goldsmith's 13th warrior track in Kingdom of Heaven?
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PostPosted: Fri Mar 09, 2007 1:29 pm   Post subject: Reply with quote


Caliburn wrote:
What is the reason for choosing Goldsmith's 13th warrior track in Kingdom of Heaven?


Cal,

That wasn't a decision by Harry Gregson Williams. From what I heard and read I believe that decision was made by Ridley Scott. I can only assume that it did not sit well with Harry Gregson Williams, so maybe that would be a question to ask.

What was your response or feelings about having music from Jerry Goldsmith's 13th Warrior score integrated into the Kingdom of Heaven movie rather than original music which you composed?
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PostPosted: Fri Mar 09, 2007 1:43 pm   Post subject: Reply with quote


On The Number 23, a dark house beat layered with electric strings seemed to mirror the obsessiveness and deterioration of the main character. What was behind the decision to pursue this direction in the score?

Did you think about making the percussive elements follow the number 23 in some way?

Your last score, Deja Vu, was an iTunes only release. How do you feel about these digital album only releases?

Could you share some of your thoughts/plans for the Shrek the Third score?
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PostPosted: Sat Mar 10, 2007 5:08 pm   Post subject: Reply with quote


Great questions!

It's especially nice to see some new contributors. Smile Thanks so much for participating.



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