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the scripts, but elements including choral music, jazz and even a detuned piano offered additional creative solutions.
Tennant) work together to try and stop the coming apocalypse, to the consternation of their colleagues in heaven and ****. English composer David Arnold (“Sherlock”) says he doesn’t believe one should “ever try and be funny with music,” though.
Job - Composer - Way - Humor - Opening
“If it’s funny, it’s funny, and your job [as composer] is to get out of the way and support the humor. The opening title music is a kind of wicked, slightly devilish, Mephistophelean waltz — it has a feeling of twirling, out-of-control-ness.”
George Clooney Watched 'Girls' 'Religiously' but Christopher Abbott Hasn't Seen 'ER'
Touch - Credibility - Madness - Choir - Work
Adding a touch of religioso credibility to this faux-biblical madness is a 40-voice choir whose work throughout the six hours of the series ranged from, as Arnold describes it, “sadistic grunting and screaming to angelic wailing and hooting,” wild takeoffs on traditional movie sounds for heaven and ****.
Meanwhile, composing brothers Harry Gregson-Williams (“The Martian”) and Rupert Gregson-Williams (“Wonder Woman”) collaborated for the first time on “Catch-22,” Hulu’s six-part adaptation of Joseph Heller’s satiric novel about a nonconformist bombardier who tries everything to get out of World War II.
Duo - Music - Harry - LA - Studio
The duo wrote the music together, in Harry’s L.A. studio, then Rupert returned to London to produce the jazz tracks. They worked closely with producer-directors George Clooney and Grant Heslov.
“Finding the right tone was probably our biggest challenge,” says Harry. “It takes you from the depths of despair to joy and triumph, then back to the depths of...
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"Tyranny sincerely exercised for the good of its victims may be the most oppressive." C.S. Lewis