HARRY GREGSON-WILLIAMS is one of Hollywood's most sought after composers, whose scores span the spectrum of high-profile projects from action to drama to animation – each infused with the emotional punch and atmospheric intensity that mark his distinctive musical style. He was the composer on all four installments of the blockbuster Shrek franchise; garnered a BAFTA nomination for the score for the first Shrek; and received Golden Globe and Grammy Award nominations for his score to Andrew Adamson's The Chronicles of Narnia: The Lion, The Witch and The Wardrobe.
His most recent projects underline his uniquely diverse range and appeal: Aardman Animations Early Man, directed by Nick Park and The Meg starring Jason Statham and directed by Jon Turteltaub. Additionally for Philip K. Dick's Electric Dreams Gregson-Williams provided the series Main Title and scored two of the standout episodes for Amazon/Sony TV and received an Emmy nomination for Outstanding Music Composition for a Limited Series, Movie or Special (Original Dramatic Score) ) for The Commuter. He is also writing the original score for Disneynature's Penguins which is slated for an Earth Day 2019 release.
In addition, he wrote the original score for Breath, which marked the directorial debut of Simon Baker who also co-stars in the film and the music for The Zookeeper's Wife starring Jessica Chastain and directed by Niki Caro, which was released in March 2017. He also composed the music for the dramatic crime thriller Live by Night, starring Ben Affleck who also directed the film from his own screenplay. The film, which marks their third collaboration, is based on the award-winning best-seller by Dennis Lehane.
Other recent scores include HBO's Confirmation which stars Kerry Washington and Greg Kinnear, the blockbuster The Martianstarring Matt Damon and directed by Ridley Scott, Miss You Already for director Catherine Hardwicke, and The Equalizer starring Denzel Washington and directed by Antoine Fuqua.
His long list of film credits also includes the critically acclaimed The Town directed by Ben Affleck. Gregson-Williams first worked with Affleck as the composer on Gone Baby Gone. He has worked multiple times with other directors including Joel Schumacher on the films Twelve, The Number 23, Veronica Guerin and Phone Booth; Tony Scott on Unstoppable, The Taking of Pelham 1 2 3, Déjà Vu, Domino, Man on Fire, Spy Game and Enemy of the State; and Ridley Scott on Prometheus and Kingdom of Heaven. Gregson-Williams' prolific output has also seen him scoring Mike Newell's Prince of Persia: The Sands of Time; X-Men Origins: Wolverine; Jon Favreau's Cowboys & Aliens; Blackhat for Michael Mann; Adamson's The Chronicles of Narnia: Prince Caspianand Mr. Pip; Beeban Kidron's Bridget Jones: The Edge of Reason; Aardman's animated films Arthur Christmas and Chicken Run; the unique documentary Life in a Day; Len Wiseman's Total Recall; Return to Sender and Smilla's Sense of Snow, both for director Bille August; Antoine Fuqua's The Replacement Killers; and the first computer generated animation from Dreamworks, Antz.
Gregson-Williams has scored three of the five games in the highly successful Metal Gear Solid franchise for Konami and recently scored Call of Duty for Activision which became the top selling video game of 2014 and which earned him various music gaming awards.
Born in England to a musical family, Gregson-Williams earned a music scholarship to St. John's College, Cambridge at the age of 7 and subsequently gained a coveted spot at London's Guildhall School of Music & Drama from which he recently received an Honorary Fellowship. Gregson-Williams then turned his attention to teaching, initially in schools in England but later in Alexandria, Egypt. He started his film career as assistant to composer Richard Harvey and later as orchestrator and arranger for Stanley Myers, and then went on to compose his first scores for director Nicolas Roeg. His subsequent collaboration and friendship with composer Hans Zimmer resulted in Gregson-Williams providing music for such films as The Rock, Armageddon and The Prince of Egypt and helped launch his career in Hollywood. He has also been a regular and valued mentor at the Sundance Composers Lab working directly with talented emerging composers from all over the world. Gregson-Williams has five children and has lived and worked in Los Angeles since 1995.
Harry Gregson-Williams Composing Process Interview
Harry Gregson-Williams Interview - Using NI Kontakt
Sony Music proudly announces the release of THE EQUALIZER 2 (Original Motion Picture Soundtrack) with original music by Golden Globe® nominee Harry Gregson-Williams (The Chronicles of Narnia, Shrek). The soundtrack will be released on July 13th, 2018. THE EQUALIZER 2 will open in U.S. theaters on July 20th, 2018.
If you have a problem and nowhere else to turn, Robert McCall will help – he is The Equalizer. McCall has been aiding the beaten, exploited, and oppressed by serving an unflinching justice. But when McCall's dangerous past cuts especially close to home, he will need all of his skills to settle the score. This time, he must come face to face with highly trained assassins who will stop at nothing to destroy him. Denzel Washington returns to one of his signature roles in the first sequel of his career. Starring Denzel Washington, Pedro Pascal, Ashton Sanders, with Bill Pullman and Melissa Leo, The Equalizer 2 is directed by Antoine Fuqua, written by Richard Wenk, and produced by Todd Black, Jason Blumenthal, Denzel Washington, Antoine Fuqua, Alex Siskin, Steve Tisch, Mace Neufeld, Tony Eldridge, and Michael Sloan.
Composer Harry Gregson-Williams captures the powerful drama and epic grandeur of director Ridley Scott's historical drama Kingdom of Heaven in his musical score, featured on Sony Classical's original soundtrack recording. Directed by Ridley Scott – who helmed the Oscar-winning Gladiator, Black Hawk Down and Blade Runner – Kingdom of Heaven stars Orlando Bloom (the Lord of the Rings trilogy), Eva Green (The Dreamers) and Oscar nominee Liam Neeson. The film opens nationwide on May 6, 2005, and the soundtrack recording will be released on Tuesday, April 26, 2005.
Best known perhaps for the music he created for the hugely popular Shrek and Shrek 2, Gregson-Williams has created original music for a remarkable array from films from every genre. His recent credits include Man on Fire, Bridget Jones: The Edge of Reason, Team America: World Police, Veronica Guerin, Phone Booth, Spy Game, Enemy of the State, Sinbad: Legend of the Seven Seas and Antz.
Set in 12th-century, between the Second and Third Crusades that changed the course of history in Europe and the Middle East, Kingdom of Heaven tells the story of a French blacksmith named Balian (Orlando Bloom), an alienated young man whose long-lost father (Liam Neeson) inspires him to join the Crusades and realize the heroic vision of a "kingdom of heaven," a true harmony of differing religions and cultures in the Holy Land. Eva Green plays the beautiful young princess who captures Balian's heart amid the epic struggle to protect Jerusalem from the forces of darkness and destruction. The film also stars Oscar winner Jeremy Irons, David Thewlis and Brendan Gleeson.
Gregson-Williams recorded the score for Kingdom of Heaven in London's Abbey Road Studios, adding to his orchestral palette the 123 voices of The Bach Choir and a small group of Turkish musicians from Istanbul, as well as the acclaimed early music ensembles Fretwork and the Choir of The Kings Consort. The richly contrasting sound of the score is exactly what director Ridley Scott had in mind when he decided to collaborate with the composer for the first time. "Harry comes from a rather classical background, which for this film is essential," the director says. "But there is a way to mix it up."
The score begins with the remote sound of a consort of viols – evoking the chilly desolation of medieval France – and blossoms when the hero Balian arrives in Jerusalem, Gregson-Williams notes. At that point, the composer says, "he's experiencing smells and colors and sounds that he hasn't experienced before, and I can hear an oud, a kanoon (or qanun) or a kamancha, which is an Arabic violin. These colors start coming into the score just as Balian discovers them."
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Crossover Media Projects with: Harry Gregson-Williams