iF Magazine has interviewed composer Harry Gregson-Williams. Check out the full interview at the source link, or just read the portion below.

iF: There’s a real flow to PRINCE CASPIAN. Talk about how you integrate the orchestra with your samples for its unique, and melodically pleasing sound?

Harry Gregson-Williams: Caspian is more or less an acoustic score, as was LWW. As I often do, I integrated some of my customized sounds (nothing heinously electronic!) alongside an orchestra, a choir and various ethnic instruments from all around the world to create the sound of Narnia. It is amusing to me that on LWW I seemed to ruffle some people’s feathers for sounding too electronic. Please! I enjoy and listen to plenty of ‘electronic’ music and sometimes create scores along those lines, but…. well…. I don’t know what some people’s idea of ‘electronic’ is, but it’s not mine.

iF: You make ample use of choral music in PRINCE CASPIAN. Do the words have any actual meaning, a la Howard Shore’s use of Elvish in his RINGS scores?

Harry Gregson-Williams: As it happens they do, and they did for the most part in LWW. There are many sections where I used various Runic phrases (a very old English language) which served as exclamations that the choir would sing – usually small, rising phrases that I always thought of as a sort of ‘Greek Chorus’ commenting on the action as it happened. Also, in the more noble and heroic parts of the score there is a large use of Latin. Secular Latin.

iF: Is it more difficult writing “lighter” fantasy scores like SHREK and the first NARNIA, or going for the more sophisticated sound of epics like PRINCE CASPIAN?

Harry Gregson-Williams: If you know me, you’ll know that I find it stimulating and creatively necessary to move between genres. I wouldn’t say I find any particular thing easy, either. Working on the NARNIA movies has been a blessing and I have been aware of what a responsibility this has all been. I’d follow Andrew Adamson in to any old battle at any old time, too. He’s a brilliant director who has an amazing ability to get the best out of the people around him, and he’s a good friend too.

iF: How do you see your NARNIA sound developing for the next film THE VOYAGE OF THE DAWN TREADER?

Harry Gregson-Williams: No idea. Ask David Arnold — he might have given this subject some thought!

iF: In addition to scoring CASPIAN, you also voice the swashbuckling squirrel Pattertwig. What’s it like to finally be part of the fantasy universe? And do you hope for an action figure?

Harry Gregson-Williams: When I phoned my two children from a London ADR stage to tell them that I was about to voice one of the characters in the movie, there were squeals of utter delight- initially. But as my son, not so much his sister, discovered that it was to be Pattertwig’s voice that I was going to do and not some mighty Minotaur or something, he had great difficulty hiding his disappointment! It was fun to do nonetheless, and yet another reason I feel amazingly fortunate to have been a part of the Narnia adventures thus far. Of course, a Pattertwig action figure would have to be kept on a very high shelf, well out of sight …

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Walt Disney Records will release the original soundtrack for Walt Disney Pictures/Walden Media’s The Chronicles of Narnia: Prince Caspian on May 13, 2008. The recording features score written by award-winning composer Harry Gregson-Williams and songs performed by Switchfoot (”This Is Home”), Regina Spektor (”The Call”), Oren Lavie (”A Dance ‘Round The Memory Tree”), and Hanne Hukkelberg (”Lucy”).

In 1950, the scholar, critic and writer C.S. Lewis published The Lion, the Witch and the Wardrobe, the first of his seven-volume series, The Chronicles of Narnia, and established a modern legend. Adults and children alike fell in love with his stirring, action-packed adventure that was set in the middle of World War II bombing raids yet transported readers into an alternate and far more enchanted universe of mythological creatures waging an epic battle between good and evil.

Harry Gregson-Williams reunites with director Andrew Adamson for the 5th time after composing the scores for his Academy Award®-winning Shrek (co-composed with John Powell), the hit sequels Shrek 2 and Shrek the Third, and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, for which he collected Golden Globe and Grammy nominations for his score. He is one of Hollywood’s most sought after composers, working on a variety of high-profile projects, both animated and live-action.

Over the last several years, Gregson-Williams has composed such notable scores for Shrek the Third,Gone Baby Gone, Chicken Run, Man on Fire, Flushed Away, Domino, Spy Game, Déjà vu, Phone Booth, Veronica Guerin, Smilla’s Sense Of Snow, The Replacement Killers, Bridget Jones: The Age of Reason, Enemy of the State, Antz and Kingdom of Heaven, among others.

The multi-platinum selling rock band Switchfoot has written and recorded the original song “This Is Home,” which is heard in the body of the film and over the end title credits. They shot a video for the song with director Brandon Dickerson, who filmed their most recent video for “Awakening.”

“We are so honored to be a part of the Prince Caspian film with ‘This Is Home,’” says Switchfoot frontman Jon Foreman. “The Narnia stories have a really special place in my brother Tim and my lives. Our dad used to read these to us at bedtime when we were boys. Our imaginations were shaped on these amazing novels.”

The characters of C.S. Lewis’ timeless fantasy come to life once again in this newest installment of the Chronicles of Narnia series, in which the Pevensie siblings are magically transported back from England to the world of Narnia, where a thrilling, perilous new adventure and an even greater test of their faith and courage awaits them.

“As [the film's director] Andrew Adamson and I began early discussions about the musical possibilities for The Chronicles of Narnia: Prince Caspian,” composer Harry Gregson-Williams said, “it became clear that the movie could take a score with plenty of edge and bite to it this time around, supporting the fast moving action and adventure that quickly unfolds.”

One year after the incredible events of The Lion, the Witch and the Wardrobe, the Kings and Queens of Narnia find themselves back in that faraway wondrous realm, only to discover that more than 1300 years have passed in Narnian time. During their absence, the Golden Age of Narnia has become extinct, Narnia has been conquered by the Telmarines and is now under the control of the evil King Miraz, who rules the land without mercy.

The fast forward 1300 years in the future allowed Gregson-Williams to re-address themes from the first film as well as creating new ones. Director Andrew Adamson described, “For Prince Caspian, Harry drew not only on the beloved themes of The Lion, the Witch, and the Wardrobe, but also developed original, sympathetic themes for Caspian and the Telmarines. Harry has threaded these themes with the same beauty and originality as he has woven all the notes that form his wonderful scores.”

The four Pevensie children will soon meet an intriguing new character: Narnia’s rightful heir to the throne, the young Prince Caspian, who has been forced into hiding as his uncle Miraz plots to kill him in order to place his own newborn son on the throne.

Gregson-Williams embraced the challenge of composing for these new characters. He described, “The early introduction of a fearful Prince Caspian fleeing for his life from the dangerous Lord Miraz gave me a wonderful opportunity to introduce this new and somewhat darker musical landscape right from the opening.”

Also drawing inspiration from C.S. Lewis was Switchfoot. “‘This Is Home’ was inspired by the book after re-reading it for the opportunity to write for the film,” continues the band’s frontman, Foreman. “I am always taken by [C. S.] Lewis’ ability to write about the bittersweet beauty in this world; this home we aren’t really made for but is the place we work out our humanity in the midst of our longing for our true home.”

Walt Disney Pictures and Walden Media present The Chronicles of Narnia: Prince Caspian in theaters on May 16, 2008. The Chronicles of Narnia: Prince Caspian Original Soundtrack will be in stores on May 13, 2008.

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The comedian David Williams plays Bulgy Bear in the big-screen adaptation of C.S Lewis’ The Chronicles of Narnia: Prince Caspian.

Speaking about David’s role in the movie, a source told the publication: “He loves The Chronicles of Narnia and jumped at the chance to voice Bulgy Bear.”

“He’s got great timing and brings a comic touch to the role.”

We’ve also learned, from the press kit, that Narnia composer Harry Gregson-Williams has provided the voice for the character Pattertwig!

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For the 2005 movie “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” composer Harry Gregson-Williams was given an ambitious task: Write the score for a movie where the good guy is a talking lion who is a literary allusion to Jesus, the bad guy is a candy-toting wicked witch and the whole action is set in a fantasy world entombed in winter that children access via a wardrobe.

Gregson-Williams delivered, earning Golden Globe and Grammy nominations for the film’s score.

In late 2007, he received a new assignment from Disney: Can you do all that again?

Scoring “The Chronicles of Narnia: Prince Caspian,” the sequel to the original hit that arrives in theaters May 16, was daunting, Gregson-Williams admits. But in an industry where sequels are the studios’ bread and butter, composers often are pushed to expand their vision and find new themes in their previous works.

For “Caspian,” it was a matter of picking up some of the underlying themes in the first film and expanding upon others from the new one. “A composer is one own’s harshest critic,” Gregson-Williams says. “I thought, ‘I’ll take that scene and develop it,’ and ‘I don’t think I’ll bring that scene with me.”‘

Gregson-Williams says he had the benefit of “Caspian” taking place in a vastly different Narnia from “Wardrobe” — one that is ravaged by chaos and war. “Narnia is not quite so beautiful and snow-laden,” he said. “The place is a wreck when the children arrive there.”

As a result, the score is more foreboding and imposing than the one for “Narnia,” in which Gregson-Williams tried to express the Pevensie children’s glee in finding an alternative world.

In addition, he has two new major characters to introduce musically: the titular hero, Prince Caspian, and the tyrannical Lord Miraz. “Prince Caspian is being pursued from almost the start of the film,” he said. “The tone of the movie is more urgent, dark, driving.”

Read the rest at Reuters

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Amazon.com has listed a possible track list for the Prince Caspian soundtrack. This is the first time that we’ve heard about artists such as Regina Spektor, Oren Lavie and Hanne Hukkelberg being on the soundtrack.

Of note is the lack of Lisbeth Scott’s name, which leads me to believe that she has not written an individual song for Narnia this time around, but is instead the featured vocalist on the score. Remember, she appeared on the Lion, the Witch and the Wardrobe score in the “Evacuating London” track.

1. The Call Performed by Regina Spektor
2. A Dance ‘Round the Memory Tree Performed by Oren Lavie
3. This Is Home Performed by Switchfoot
4. Lucy* Performed by Hanne Hukkelberg
5. Prince Caspian Flees Score
6. The Kings and Queens of Old Score
7. Journey to the How Score
8. Arrival at Aslan’s How Score
9. Raid on the Castle Score
10. Miraz Crowned Score
11. Sorcery and Sudden Vengeance Score
12. The Duel Score
13. The Armies Assemble Score
14. Battle at Aslan’s How Score
15. Return of the Lion Score
16. The Door in the Air Score

* Not Featured in Film

You can pre-order the soundtrack at Amazon.com!

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Tommy Pearson wrote in to invite you all to visit Stage and Screen Online (www.stageandscreenonline.com). They have just posted a 22 minute audio exclusive interview with director Andrew Adamson and composer Harry Gregson-Williams. Recorded at the scoring sessions for Prince Caspian, they discuss in detail the new movie as well as their other collaborations – the first Narnia movie and the Shrek series. It’s an entertaining look into an outstanding creative partnership.

Director Andrew Adamson and composer Harry Gregson-Williams meet Tommy Pearson at Abbey Road studios in London during the sessions for the second Chronicles of Narnia film, Prince Caspian.

Click here to visit Stage and Screen Online to listen to the interview!

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ScoringSessions.com travels across the globe to bring you an exclusive in-depth look at the scoring sessions for Harry Gregson-Williams’ highly anticipated score to The Chronicles of Narnia: Prince Caspian. Recorded at the world-famous Abbey Road Studios, they’ve got a lot of photos for you, so come check it out!

Since last December, composer Harry Gregson-Williams has been hard at work in London, writing his score to the upcoming Walt Disney Pictures/Walden Media’s feature film The Chronicles of Narnia: Prince Caspian. The film adaptation is the next chapter in the saga by C.S. Lewis, and takes place after the events in 2005’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. Directed by Andrew Adamson (who directed the first film), with a screenplay by Adamson, Christopher Markus and Stephen McFeely, the movie follows the four Pevensie children as they are called back to Narnia to help Prince Caspian (Ben Barnes) defeat the forces that are plotting against him.

Gregson-Williams began recording his score in late January, where a cycle of writing/recording/mixing took place. This approach allowed him to work with the filmmakers as the edits in the film changed. At the beginning of March there were three days of scoring, and ScoringSessions.com had an opportunity to travel across the globe to attend them at the world-famous Abbey Road Studios, in London, England.

The music for Prince Caspian follows the style that Gregson-Williams established for the first film, but due to the nature of this sequel, it’s a bit darker and more aggressive. New themes have been written, and some old familiar themes from the first film also make appearances.

Visit ScoringSessions.com for all the awesome pictures and the rest of the story!

Thanks to Dan Goldwasser for the report!

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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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Laura Zamzow was able to attend the World Premiere of the Chronicles of Narnia Suite last night. She sent us along some pictures from the event that she took in the lobby (as I’m sure no photography of any kind was allowed in the auditorium). The pictures are primarily props from the film. Very cool stuff. She also tells us about the concert itself. Read on!

As a fan of your site, I thought you might like to at least see some photos from the World Premiere of the Chronicles of Narnia Suite by Harry Gregson-Williams in Denver last night. In the lobby they had some props from the film including Peter’s sword and Father Christmas’s Robe.

The concert was wonderful-the suite was made up of all the main themes from the film and the highlight for everyone seemed to be the fourth movement: The Battle of Beruna. There were 3 screens in Boettcher Hall and they displayed still photos as well as clips from the film while the music was being played. Another highlight was a taped introduction by William Moseley and Anna Popplewell from the set of Prince Caspian.

I hope you enjoy the photos and thank you for creating this fun website!
~Laura Zamzow

View the Images at WaldenFans.com

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Tarva2Alambil sent us a great article about the career of composer Harry Gregson-Williams. He’s a phenominal composer, and will be returning to write the music for Prince Caspian. He mentioned that he’s really looking forward to it and that he hopes to be able to hold on to a theme or two from the first film. The Hollywood Reporter:

My first impression of Harry was a small bundle of energy,” director Andrew Adamson says of his composer collaborator on 2005’s “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” and Buena Vista’s planned 2008 release “The Chronicles of Narnia: Prince Caspian.”

He might be on to something.

Since Harry Gregson-Williams first burst onto Hollywood’s film music scene a decade ago with his score for 1998’s “The Borrowers,” he has managed to turn his naturally kinetic state of mind, strong classical background and rock ‘n’ roll mentality into an eclectic slate and high-profile collaborations with some of the biggest names in the industry.

Adamson, too, praises Gregson-Williams for his creative flexibility. The pair first joined forces for 2001’s “Shrek,” which the New Zealand-born filmmaker co-directed with Vicky Jenson, and subsequently partnered for 2004’s “Shrek 2″ and the “Narnia” films.

While both franchises appeal to family audiences, they couldn’t be more different in tone. But Adamson says he didn’t hesitate to bring Gregson-Williams onboard for the live-action fantasy films, noting that Gregson-Williams is just plain fun to work with.

“On ‘Shrek,’ Harry developed a really beautiful fairy tale theme. He called me and said, ‘Let me play you the “Shrek” theme — I’m very happy with it.’ He played it for me and then got back on the phone very excited. And I said, ‘Harry, you know, it’s a very beautiful piece of music, but it’s very traditional, and I think Shrek’s theme should sound very different because he’s not your typical fairy tale character.’ He got very depressed and literally 15 minutes later called me back and said, ‘Let me play you Fiona’s theme,’ and he played me the same piece of music! It was perfect because everything about Fiona in the movie was about the cliches of that genre, so that became Fiona’s theme.

“To him, the music comes first, and then he almost finds the application,” Adamson continues. “On the ‘Narnia’ series, when we started with that — before he’d even seen anything — he said, ‘I’ve got this big heroic theme that I’m imagining at a coronation or something,’ and he sat down and played it for me on piano. It was beautiful, and it became one of the strongest themes in the film. He seems to have a very intuitive approach to film music.”

The composer will debut a concert suite of his “Narnia” music with the Colorado Symphony Orchestra on May 19, and he already has begun thinking about the second film in the series, “Prince Caspian.” “I’ve read the script, and there are a couple areas that I’m researching, but really it’s a very different story,” Gregson-Williams says. “Hopefully, we’ll be able to hang on to one or two of the cues and develop them, but it’s quite dark, actually. I’m really looking forward to it.”

So, what’s changed since Gregson-William’s early assistant days? A lot, the composer says. “Certainly from a technological point of view, I wouldn’t have thought — if I’d have looked forward 11 years ago — that I would spend so much time in front of a computer,” he offers. “I didn’t even own a computer 11 years ago, let alone use it for music. I found a happy medium between pen and paper and utilizing the technology that’s available. It’s pretty thrilling because it’s changed so much since Hans first locked me in a room with a computer and said, ‘Work it out.’”

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