mit Jeff Rona
"The Opportunity For Creativity ..."
Jeff Rona gehört bei Media Ventures fast schon zum Stamminventar. Mit Projekten wie "White Squall" oder der Musik zur Krankenhaus-Serie "Chicago Hope" sammelte er schnell positive Kritiken. Wir haben Jeff unsere Fragen serviert ...
How did you meet Hans Zimmer and how did you come to Media Ventures ?
A mutual friend introduced us. Hans and I became friends very quickly, and began working together. I did a lot of sampling and sound design before doing any writing.
In which way is the work at Media Ventures different than the work with composers like Basil Poledouris or Mark Isham you also collaborate with ?
I haven't worked with Basil in a long time. I did some synthesizer programming for him. I also did some orchestrations on a couple of his scores. I've had a more creative collaboration with Mark Isham, a good friend. I've worked on a number of scores with him both as synthesist and composer.
What is your "special way" to get ideas for new compositions ?
Every project is different. I look for colors, themes and musical styles that I think will bring out the best qualities in that particular film.
Do you mean that it is important to use new electronic instruments like synthesizer to compose an action score ?
Synthesizers add a lot of energy to a score, which is good for an action film. But some wonderful scores are done just with orchestra. The best is to blend them both.
Harry Gregson-Williams, Mark Mancina, Trevor Rabin and of course Hans Zimmer are all composers who collaborate with Jerry Bruckheimer. In which way would you like to score a new Bruckheimer Action blockbuster ?
I have little interest in that.
How important is a good Score-Soundtrack for an action film ?
They don't exist without them.
Do you mean that it is dangerous for a composer to write music for an action film, because he must separate the violence and the fun ?
A composer's job is no different on an action score than a comedy or lovestory. There are characters and actions that occur in the telling of the story, and the composer must help to bind all the elements together ...
... so you like Nick Glennie-Smith's, Hans Zimmer's and Harry Gregson-Williams' music for "The Rock" ?
Yes. It has been imitated many times, but never done as well.
You have written music for the Hans Zimmer project "Toys", what was your part of the Score ?
Just a few pieces in the film. I also did a funny sound collage for Robin William's "musical jacket." I've co-written on other films as well.
Unfortunately, the complete "Toys" score was not released. Why ?
There was no room on the record after all the songs were put in. It is mainly a song album.
'Toys': A funny sound collage for Robin William's "musical jacket"
Many fans are waiting for a long time for the CD "Scenes from the crime" with "High Incident" and "Homicide" music. When can we hear the CD ?
I don't know if this CD will happen. It is very difficult to get all the permission to put this kind of CD together. I suggest that anyone interested in this contact Sonic Images Records and make their request known.
You work a lot on TV productions. Do you prefer to write music for a series or a motion picture ?
It is a different challenge. I must work very quickly in TV. That is fun, but I enjoy the challenge of a film score better. There is more opportunity for creativity.
You have done a lot of projects with Hans Zimmer. How important is his musical influence when you work on your own projects ?
My friendship with Hans is very important to me, but I never want to imitate his musical style. We listen to each other's music often as we are composing scores, and that is a great deal of fun. Very inspiring, too.
At home, what kind of music do you listen to ?
Not a lot. A little bit of most everything from around the word. No country music.
Last question: What are your plans for the future ?
Some bigger and better films. Some live performance.s, and some non-filmscore recordings.
Interview exklusiv für hanszimmer-archiv.de
Geführt von Dirk Hein mit Jeff Rona am 17.06.1999
Special Thanks to James S. Levine and Jeff Rona
(c) hanszimmer-archiv.de 1999
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