Award-winning composer David Arnold has been added to the line-up for the Music Show, which is RDS-bound on October 3 and 4.

Arnold has scored five consecutive James Bond movies starting with 1999’s The World Is Not Enough; won a ‘Best Instrumental Composition Written For A Motion Picture’ Grammy for Independence Day; collaborated with the likes of Kaiser Chiefs, Massive Attack, Chris Cornell, Shirley Manson, Pulp and Bjork; and is currently working on 2010’s The Chronicles Of Narnia: The Voyage Of The Dawn Treader.

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Just after the release of THE CHRONICLES OF NARNIA: PRINCE CASPIAN, composer Harry Gregson-Williams shares about his return to Narnia, his feelings about moving on from the franchise, what he’s doing with up-and-coming-composers like David Buckley and Stephen Barton at his Wavecrest Studios, and his upcoming projects which include X-Men Origins: Wolverine.

CC: Outside of the relocation, what would say your biggest challenge was musically on PRINCE CASPIAN?

HARRY GREGSON-WILLIAMS: My biggest challenge was to embrace Andrew (Adamson’s) notion that I should bring forward themes from the first movie. Of course, there are a number of new themes that I had to write, but the real conundrum for me was figuring out just how much of the thematic content I was going to bring with me from the last movie. It’s strange not starting from square-one. I actually worried about this quite a bit, so what I ended up doing was to push all of that to one side and write Prince Caspian’s theme and the cue for the first 8-minutes of the film. I knew this piece would have no reference to the previous movie, so this was good for me because it made me feel as though I was on a fresh musical journey.

CC: Would you say that, at least in some ways, it is more difficult in doing a sequel?

HARRY GREGSON-WILLIAMS: Yes. I would say that. I don’t know what David Arnold would say when one does Bond movie after Bond movie. Perhaps intellectually it’s not so difficult for him because what would a Bond movie be without ((hums James Bond theme)) – because you just need those John Barry moments. But somehow he is able to make the scores feel fresh. So for me, once I could see the arc of the story that I’d be able to follow, it all became much clearer.

CC: David Arnold is the composer taking the reigns, as it were, for the franchise…..How does it feel? Is it easy to cut the chord and say, “I’ve done my part and so whatever he does, great!”

HARRY GREGSON-WILLIAMS: I think if Andrew Adamson was directing the next movie and I hadn’t been asked to do it, then I don’t think I could help myself from feeling extremely disappointed.

Check out the full interview here!

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During the latest Film Music Festival, organised by the International Film Festival Flanders Ghent, [Main Titles] had the chance to talk to composer David Arnold, just a few hours before he would be handed over a World Soundtrack Award for Best Original Song, obviously that is You Know My Name for Casino Royale.

With a cup of coffee, seated at a table too small for 3 people, [Main Titles] talked about the recent Godzilla release, his career, and even clothes (though, the last is not included in this interview).

Main Titles: Godzilla was one of your last big scores. It made kind of a trilogy with ID4 and Stargate and now fans wait for a new “big one” to arrive. Something has definitely changed since Godzilla.

David Arnold: I wasn’t really offered this sort of films anymore and I am not sure why that was. I am not sure why I got offered the ones I did get offered; the third Narnia film, which was supposed to be immediately after the next Bond, would be a chance to go back to more traditional fantasy style scores that I haven’t done for quite a long time.

The one thing I love about those things is that there are no rules. Nothing is actually real, you don’t actually have to worry about having a responsibility to truthfulness in a real sense; it’s just about how to make the film’s feeling and heighten the film’s effectiveness. You’re not telling a true story. It’s not like Amazing Grace which was a film about something that really happened, a film that has actually affected real people… A giant talking lion (in Narnia) is not the same sense of responsibility.

Obviously you’re respectful of the material and of the certain amount of truth there still is in the film you have to be honest with. I am really looking forward to it though, it’s been such a long time since I last done this sort of thing, I am interested to see how I write now, it is a long time ago.

Read the rest at Main Titles

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[David] Arnold, a Grammy winner for “Independence Day,” was cited for his score to “Casino Royale.” He composed the music for three previous James Bond films and is on board for the untitled “Bond 22″ plus the animated “Agent Crush” and comedy “How to Lose Friends and Alienate People.” Arnold, who is also very busy in the pop world working with such acts as the Kaiser Chiefs, has scored TV’s “Stargate SG-1″ since 1997.

Harry Gregson-Williams won for the Aardman/DreamWorks animated film “Flushed Away” and Tony Scott’s Denzel Washington thriller “Deja Vu.” His credits include such DreamWorks hits as “Antz” (1998), “Chicken Run” (2000), and “Shrek” (2001) with John Powell. He scored “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” (2005) and is working on “The Chronicles of Narnia: Prince Caspian” due in 2008, both directed by Andrew Adamson for Walt Disney.

2007 BMI LONDON AWARDS

Film Music Awards

“Casino Royale,” David Arnold (PRS)
“Deja vu,” Harry Gregson-Williams (PRS)
“Flushed Away,” Harry Gregson-Williams (PRS)

Harry Gregson-Williams is the composer on The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and The Chronicles of Narnia: Prince Caspian. David Arnold is the composer on The Chronicles of Narnia: The Voyage of the Dawn Treader.

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In an announcement for the composer of Bond 22, the James Bond fan site MI6 has revealed that film composer David Arnold will be composing the score for The Voyage of the Dawn Treader:

David will also be scoring the third Narnia film, “The Voyage of the Dawn Treader” for Disney/Walden and directed by Michael Apted, with whom David has scored three films (”The World is Not Enough“, “Enough” and “Amazing Grace“)

It is pretty typical for a composer and director to team up on movies as they have already established their relationship. They tend to work together quickly and efficiently as they’ve got a short-hand in which they can communicate more effectively than a new composer coming in. This is the type of relationship held by Steven Spielberg and John Williams, M. Night Shyamalan and James Newton Howard, and Andrew Adamson and Harry Gregson-Williams.

You can visit David Arnold’s official website for more!

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