In mijn onderzoek naar Harry Gregson-Williams werk voor The Equalizer 2 kwam ik een interview tegen waarin Gregson aangeeft dat hij na zijn werk voor de film The Equalizer (de eerste film, 2014) van regisseur Antoine Fuqua een volgende film van dezelfde maker van muziek zou voorzien.
Het gaat om de film Southpaw. Nu weet ik dat de score voor deze film helemaal niet door Gregson-Williams is geschreven, maar door James Horner. Het werd een van zijn laatste werken, naast The Magnificent Seven (ook door Fuqua geregisseerd).
Een review van de cd op Filmtracks beweerd daar het volgende over:
Due to its rather minimal budget, Fuqua had planned to return to his collaborator on The Equalizer, Harry Gregson-Williams, to provide the music for the film. The director had a fruitful collaboration with Hans Zimmer and his associates through the years (Gregson-Williams joining Mark Mancina and Trevor Morris), but when veteran drama composer James Horner offered to Fuqua that he’s produce a score for free for Southpaw, the director could not resist. Horner was moved by the story to such an extent that he insisted that he needed to write the music for it, regardless of the fact that he would have to cover all his crews’ costs out of his own pocket. Horner was thus granted the job and produced a synthetic work produced by just a small group of his core team.
Harry Gregson-Williams over zijn werk voor de film The Equalizer 2:
What attracted you to both films [The Meg and The Equalizer 2]?
The Equalizer, I did the original with Antoine Fuqua and he only had to ask, I did’t think twice about it. The thing is, we have a bit of a relationship; many years ago, it might be 1997 or something when I forst come to America and I was working under Hans Zimmer at his laboratory [Media Ventures, now Remote Control Productions]. I think it was the first action film I was asked to do aside from working for Hans. I was kind of surprised to get a call, I had not met Antoine Fuqua before. I didn’t know his music videos because he hadn’t a film until that point, nor had I scored an action movie. So we did this movie called The Replacement Killers and we had a good time on it in both our first films, so perhaps it wasn’t our best work yet, hopefully there was somewhere to move. And then all these years went past, a decade and a half has gone by, and we kind of circled back to each other and I was really surprised and pleased that he called me on the Equalizer, the original film more than 5 years ago. So it was a natural thing to want to devlop the themes and carry on the Denzel [Washington] story.
I think I’ve done a lot of films with Denzel. You know, as a film composer you spend a lot of time in a darkened room looking at the pictures in front of you trying to find inspiration and I never get bored of watching Denzel. I can’t think of another Hollywood star that just convinces me right out of the gate. I never sit there thinking: really? really? Never, no. I’ve done several films with him, a lot with Tony Scott actually. So it was really great that since Tony’s passing that I managed to hook up with a director who also loves working Denzel Washington. […]
Dit is een transcriptie van een fragment uit een interview door ‘Unger the Radar’ met Harry Gregson-Williams in de zomer van 2018.
Hier hoor je het volledige interview.