In the summer of 2010, Harry Gregson-Williams had two new films coming out: Prince of Persia, which was a better score than a movie, and Shrek Forever After, the last of the big-screen Shrek films (and Harry’s sixth Shrek project for DreamWorks). It was a great excuse to revisit his entire career for the Los Angeles Times, including new interviews with several producer and director collaborators including Jerry Bruckheimer, Mike Newell, Jeffrey Katzenberg and Tony Scott.
This was another in our ongoing series (dubbed “Billion Dollar Composers,” a reference to how much money their movies have made). Interviewing Harry was a fascinating experience. He had a fabulous studio in Venice, Calif., at the time, and shared something of his work process while I bugged him about his life, his music and a few of his favorite scores. The main story is mostly about his creative side. The sidebars include one about his animated projects; an on-the-scene report about scoring The Wolverine at Fox; and a look at five career highlights.