HARRY GREGSON-WILLIAMS is one of Hollywood’s most sought-after and prolific composers whose long list of film and television credits underscore the diverse range of his talents. His latest projects include Warner Bros summer hit “The Meg” directed by Jon Turteltaub, the action thriller “The Equalizer 2,” starring Denzel Washington and directed by Antoine Fuqua, and Aardman Animation’s “Early Man” directed by Nick Park. He is currently writing the score for Disney Nature’s “Penguins,” slated for an Earth Day 2019 release and will next score Disney’s live-action feature film “Mulan” scheduled for release in 2020. Earlier this year he created the main title theme and scored two episodes for Amazon’s 10-episode sci-fi anthology series “Philip K. Dick’s Electric Dreams.” For the episode titled “The Commuter,” he received an Emmy nomination.
Gregson-Williams was the composer on all four installments of the animated blockbuster “Shrek” franchise, garnering a BAFTA Award nomination for the score for the Oscar-winning “Shrek.” He also received Golden Globe and Grammy Award nominations for his score for Andrew Adamson’s “The Chronicles of Narnia: The Lion, The Witch and The Wardrobe.” He has collaborated multiple times with a number of directors, including Ben Affleck on the films “Live by Night,” “The Town” and “Gone Baby Gone”; Joel Schumacher on “Twelve,” “The Number 23,” “Veronica Guerin” and “Phone Booth”; Tony Scott on “Unstoppable, The Taking of Pelham 1 2 3,” “Déjà Vu,” “Domino,” “Man on Fire,” “Spy Game” and “Enemy of the State”; Ridley Scott on “The Martian,” “Prometheus”, “Exodus: Gods and Kings and “Kingdom of Heaven”; Bille August on “Return to Sender” and “Smilla’s Sense of Snow”; Andrew Adamson on the Shrek series, the first two Narnia movies and “Mr. Pip”; and Antoine Fuqua on “The Replacement Killers” and “The Equalizer.”
His many other credits include the scores for Simon Baker’s directorial debut, “Breath”; Niki Caro’s “The Zookeeper’s Wife”; the telefilm “Confirmation”; Catherine Hardwicke’s “Miss You Already”; “Blackhat,” for director Michael Mann; Len Wiseman’s “Total Recall”; Jon Favreau’s “Cowboys & Aliens”; the documentary “Life in a Day”; Mike Newell’s “Prince of Persia: The Sands of Time”; Gavin Hood’s “X-Men Origins: Wolverine”; and Beeban Kidron’s “Bridget Jones: The Edge of Reason.” Gregson-Williams has also created the scores for a variety of animated features, including Aardman’s “Arthur Christmas,” “Flushed Away” and the Oscar-winning “Chicken Run”; and “Antz.”
Gregson-Williams has scored three of the five games in the highly successful “Metal Gear Solid” franchise for Konami and scored “Call of Duty” for Activision, which became the top selling video game of 2014 and which earned him various music gaming awards. Throughout his career, Gregson-Williams has collaborated with a diverse array of recording artists such as Regina Spektor, Imogen Heap, Tricky, Peter Murphy, Flea, Hybrid, Paul Oakenfold, Sasha, Trevor Horn, Trevor Rabin, Perry Farrell and Tony Visconti.
Born in England to a musical family, Gregson-Williams earned a music scholarship to St. John’s College, Cambridge at the age of seven, and subsequently gained a coveted spot at London’s Guildhall School of Music & Drama, from which he recently received an Honorary Fellowship. He started his film career as assistant to composer Richard Harvey and later as orchestrator and arranger for Stanley Myers, and then went on to compose his first scores for director Nicolas Roeg. His subsequent collaboration and friendship with composer Hans Zimmer led to Gregson-Williams providing music for such films as “The Rock,” “Armageddon” and “The Prince of Egypt” and helped launch his career in Hollywood.
He has also been a regular mentor at the Sundance Composers Lab working directly with talented emerging composers from all over the world.