Search Results for : Interviews

John Williams on The Force Awakens and the legacy of Star Wars

John Williams is so much more than Star Wars, that uber-popular outer space adventure serial he’s been scoring since 1977. But for better or worse, Star Wars is the first line in Williams’ biography and the primary reason he’s one of the only film composers in history to become a household name. In pop culture history there is Before Star Wars and there’s After Star Wars, and Williams’ big, brassy, neo-romantic music capitalized on (and arguably helped propel) the unprecedented cinematic blastoff on that sunny Wednesday in May not so long, long ago. The sheer cultural infiltration of these films meant Williams’ earworm themes were worming their way into millions upon millions of ears, and the potent combination of his unsurpassed talent as a composer and the phenomenal reach of the films turned the series’ main themes into post-Vietnam American folk tunes.

The Final Dialogue: Ridley Scott on Film Music

With The Martian coming out today—the best film Ridley Scott has made since Gladiator, and one of his best ever—I thought it timely to hear what the great auteur has to say about film music. I had the chance to interview Scott last winter in anticipation of Exodus: Gods and Kings… specifically about its score and the music for his films. I found his take illuminating. (Side note: Harry Gregson-Williams’ score for The Martian is aces.)

I Don’t Care What You Think: Philip Glass on his new memoir and a careless career

Philip Glass is awesome. I’m a relatively recent convert to his churning, repetitive, deeply hypnotic music, but I could listen to it all day. Some people hate Philip Glass. The guy in front of me at the world premiere of Glass’ concerto for two pianos (with the LA Philharmonic at Walt Disney Concert Hall) last Friday could not contain his irritation, and made sure we all saw how bored and annoyed he was with Glass’ insistent, bewitching exploration of the same four chords. I get it. But I repeat (and repeat and repeat and repeat): Philip Glass is awesome.

Faith in Abstract Ideas: Christopher Nolan and Hans Zimmer on the Interstellar score

Interstellar is a culmination project for Christopher Nolan. It’s both the biggest, grandest blockbuster that films like Inception and the Dark Knight trilogy have been promises of…and the most personal, zoomed-in story Nolan has tackled thus far. It’s as much about mind-bending scientific theories and the entire universe as it is about the love between a father and his daughter.

It was also the culmination of Nolan’s fruitful, rule-breaking collaboration with Hans Zimmer, who has increasingly been invited to begin developing the musical layer of Nolan’s films during their earliest stage. They are collaborators in the truest sense of the word, and are blazing a path of creative symbiosis that defies the often stifling norm of temp tracks and eleventh-hour music shellacking.

The Jungle Book: A 20th Anniversary Conversation with Bobbie Poledouris

jungle book poster1994’s The Jungle Book was the first time Disney turned one of its classic animated films into a live-action feature. Starring Jason Scott Lee as adult Mowgli, Lena Headey as his love interest, and Cary Elwes as the British baddie, the film was a surprisingly dramatic retelling of the Rudyard Kipling story, and featured exotic sets and locations, an effective blend of mature emotion and play, and an impressive supporting cast that included John Cleese and Sam Neill. The film was directed by Stephen Sommers, then only 32, who’d just made another delightful literary adaptation—The Adventures of Huck Finn (featuring my favorite Bill Conti score)—and would go on to make The Mummy films.