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.