An interview with Wonder Woman composer Rupert Gregson-Williams
Best known for his work on the DC movies Aquaman and Wonder Women, award winning film composer Rupert Gregson-Williams talks to Mandy News about how he gold involved with composing for TV and Film plus his experiences working on DC universe movies.
How did you get involved with composing for TV and Film?
I got my first job making coffee and tidying tapes on shelves. I got my first break writing for TV when the composer I was making coffee for got the flu. The deadline stayed ominously close, so I got to do my first bit of additional writing. So I guess my answer would be I got involved by perseverance and a little luck.
How do you get involved with the DC Universe films?
I got involved with DC after I’d done the score for Tarzan at Warner Bros. Some trust has developed through that process, so when Patty Jenkins was looking for a composer for Wonder Woman, they were able to suggest that she me. We got on very well, and shared a common love of all sorts of terrible music in the 70s and 80s...
What was the process like of working on Aquaman?
I loved working with James who had a very clear vision of what he wanted. I love working with electronic gear, and combining with orchestra and choir too. James and I met regularly to see where I was at ... he’d give me notes, or just talk about the characters to encourage me.
Do you have preferred kit you use to record?
I use Steinberg’s Cubase as a sequencer, and pro tools to record.
What are you working on next?
I’m currently working on Catch 22, a series directed and produced by George Clooney and Grant Heslov
What advice do you have for up-and-coming composers?
Make sure you try to find your own voice. There’s already a Thomas Newman and a Hans Zimmer out there. Be brave and different. Be available to work for nothing. The director you just did a favour for may go onto do something interesting. Try to be the best you can possibly be always.
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