Het was heel verrassend om te lezen hoe Harry Gregson-Williams tegen zijn score voor Spy Game aankijkt. In dit interview spreekt hij open en vrij over zijn twijfels bij het resultaat.

I feel very fortunate to have done the film, but I still worry a lot about it.  Tony is certainly one of a kind.  I didn’t really feel the force of it on Enemy of the State, since there were two of us composing, and we came in pretty late.  I think I was a pretty poor substitute for “the Z“, and I think Tony felt a bit let down.  And since that time, Hans has been with Tony’s brother, Ridley.  So I was fortunate on Spy Game – I don’t think the producers were that keen on me at first, but Tony went out on a limb for me – I didn’t do a demo or anything.

Zo erg zelfs dat hij zich bij de premiere van de film ongemakkelijk voelde.

Sitting at the premiere the other night I found it almost unbearable because there’s so much music, and in your face.  I knew it was going to be that way – I was at the dub so none of it surprised me. […] I have to shoulder some of that blame myself, I did spot the movie with Tony – but he’s so very clear about the amount of music.  To be honest, his visuals do lend themselves to a lot of underscore.  Frequently the old equation that “if a movie needs a lot of music, it’s probably lacking somewhere” is a truism – but I didn’t feel that on Spy Game.  It’s just that there were few places where music wouldn’t have helped.  I think I’ve learned a lot from that.  If we did it all again, I would probably try to be more assertive – and take a “less is more” approach.

Ik heb het wel een beetje met hem te doen.

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