The Art of Sound: Harry Gregson-Williams Discusses His Latest Work with Ridley Scott

Composer Harry Gregson-Williams reflects on over two decades of collaboration with director Ridley Scott, a partnership that began with the film Kingdom of Heaven in 2002. Known for its sweeping and complex score, Kingdom of Heaven remains a highlight for both Scott and Gregson-Williams. Scott recently praised it as Gregson-Williams’ best work during an episode of IndieWire's Filmmaker Toolkit podcast.

Their latest project, The Dog Stars, poses a distinct challenge, blending elements of romance, horror, action, and sci-fi. Gregson-Williams describes the film's intimate and expansive themes, emphasizing the personal connections between characters. This required a shift from his orchestral roots, as the film's setting in a post-pandemic wilderness called for a more rugged musical approach.

In crafting the score, Gregson-Williams turned to instruments that conveyed a raw, unrefined quality, incorporating banjos, guitars, ukuleles, and ethnic percussion to reflect the film's tribal aspects. However, he didn’t abandon his signature orchestral sound, weaving it into moments of beauty that highlight character emotions, such as those experienced by the protagonist, Hig, played by Jacob Elordi.

One of the film's standout moments occurs during a flight scene where Hig and his dog, Jasper, traverse a desolate landscape. With minimal dialogue and ambient noise, Gregson-Williams seized the opportunity to establish a poignant theme. He noted, "There are beautiful visuals, and that creates a marvelous opportunity to state a theme." This approach aligns with Scott’s preference for thematic music that reflects specific characters or locations.

Gregson-Williams also shared insights into Scott’s unique direction style. The director often communicates his vision in terms of colors, textures, and emotions, allowing Gregson-Williams to translate these ideas into musical expressions. For instance, Scott referenced Richard Wagner’s dramatic compositions to inspire a sense of layered beauty intertwined with terror, a challenge that Gregson-Williams embraced.

In one notable scene featuring Josh Brolin as a character facing off against feral survivors, Scott posed a thought-provoking question: “What if Carl Orff’s Carmina Burana got completely messed up?” This prompted Gregson-Williams to explore a distorted choral chant, showcasing the collaborative nature of their creative process.

As their partnership evolves, Gregson-Williams finds that Scott increasingly involves him in the early stages of production. This allows for a more efficient and productive workflow. Gregson-Williams recalls the advice he received from Hans Zimmer early in his career: “When do we finish? When it’s the best it can be.” This ethos has become a guiding principle for Gregson-Williams as he continues to create compelling scores alongside Scott.

Source: www.indiewire.com