Having given us movies such as Alien and Gladiator, there is a certain amount of excitement and expectation that typically surrounds a Ridley Scott production. With a recent output that consists of Exodus: Gods and Kings, The Counsellor, and Prometheus, those expectations have not been merited or met. Thankfully the director is back on form with The Martian, a fun and smart sci-fi which will have you laughing more than most comedies.
There are few composers working today who are as prolific as Harry Gregson-Williams. A veteran of over 20 years, his impressive career spans television, video games, and films such as the Shrek and The Chronicles of Narnia franchises.
Last August we were invited to the world famous Abbey Road Studios where Gregson-Williams was finishing up his score for The Martian, Ridley Scott’s highly anticipated fall blockbuster. We were lucky enough to see 15 minutes of footage set to his musical cues, with the quickly catchy theme being employed in interesting ways. The finished product is sure to be a memorable addition to both Scott’s filmography and Gregson-Williams’ discography.
Before that aural treat, we had the opportunity to sit down with Gregson-Williams, and during the course of our illuminating tête-à-tête the composer talks about working with the Scott brothers, the process of creating a score, and why working on franchises can be tricky. Have a read below.
It’s been 33 years since Ridley Scott’s Alien, a film which has since gone on to become a classic and is widely regarded as one of sci-fi’s most seminal pieces. After many sequels and spin-offs – some admittedly better than others – the highly anticipated Prometheus heralds Scott’s return not only to the genre, but to his universe, with the film being strongly marketed as a prequel and being said to have ‘strands of Alien-DNA’. Whilst Prometheus just about works as a standalone sci-fi movie, fans of Scott’s aforementioned work may be left disappointed.
Read the rest of this review on Yin & Yang here.