No Photos Yet! Sorry! Personal quote One of the strongest composers that Hollywood is serving today, Trevor Jones has become a respected craftsman, his ability of forming the right kind of atmosphere is probably his strongest point. He can sense what the film needs and adjusts this inside his emotional and melodic score. Trevor Jones can adapt his style to any genre, and has proven that creating the vistas for The Last of the Mohicans or Cliffhanger isn't different in order then to respond with dark threatening tones for Thirteen Days. His style is fully adaptable and progresses with each note. Another strong point is the perfect knack for themes, and some of the strongest have been used countless in trailers and are respected by others. The career of Trevor Jones is far from over and it will receive more personality with each year, trust me on that.. Biography Trevor Jones was born in Cape Town, South Africa on March 23, 1949 but his nationality is still a great mystery. At least to me, this is how Trevor Jones explains it "I was born British, and then South Africa became a republic, so when I got to England on my scholarship, I was a South African. I was treated as an alien, and after 4 years of the Academy, I needed to become naturalized again. The only way to do that was to work for a British institution." Anyway, Jones studied at the Royal Academy of music and the British National Film School. So this resulted in him becoming an English citizen in the 1970s. Through his reputation he was noticed by the BBC and started working on small features for film and TV. One of his first film scores was for John Boorman’s Excalibur, it initially put his career on the move. One year later Dark Crystal of Jim Henson was scored and not far away the fantasy tale Labyrinth (with pop artist David Bowie). Mississippi Burning and Sea of Love were other 1980 projects. Though it were the ’90 that catapulted him to fame. Arachnophobia and Freejack weren’t the ones but the sole main theme of Last of the Mohicans put the film music world alight. One year later Cliffhanger was born and Jones received the reputation of being a master in epic big themes. Further on the list we find In the Name of the Father, Loch Ness, Gulliver’s Travels (for Hallmark) and G.I. Jane. ’98 still stands as his most acclaimed year to date, Dark City, The Mighty and Merlin all feature the trademarks of which Trevor Jones has become popular. Nothing Hill, Thirteen Days and From Hell are more of his acclaimed scores. Jones as also involved in the Britney Spears vehicle Crossroads and the Television Series Dinotopia. LXG saw Jones returning to the dark action road. Around the World in 80 Days listens like a temp track but great ride nonetheless and Aegis is a Eastern effort while Marvel Nemesis was the first attempt at scoring for a Video Game release. With Fields of Freedom & The Power of the Dark Crystal, interesting projects align his path.
(on the Arthurian approach) February, 1999 I can't actually say that when I wrote the theme for The Last of the Mohicans I was hoping no one would notice it! (laughs) (on The Last of the Mohicans) February, 1999 You tend to find that the film has been temped with somebody else's score and you end up in one of those chronic situations where a director or producer will actually like the temp, and if you write anything different they're not terribly keen on it, but if you write anything resembling the same you go to prison! (on temp music) October 23, 2001 Alan Hughes had come over to London and
he and I were sitting in my studio one day, and I was just tooling around on the
piano. Suddenly he said to me, "I really love what you're doing there - that
would make a lovely theme for the two leads - play it again!" And I said,
"Play what again?" because I wasn't actually paying attention to what I was
doing; I was just tinkering around at the keyboard! October 23, 2001 If the musical style isn't sympathetic towards the images, then people are going to lose out on the cinematic experience - they're not going to enjoy it as much. (overall impression) October 23, 2001 I did enjoy the album more than most albums I've worked on, just because I like the writing and the mood it sets. (on From Hell) October 23, 2001 For me the business of scoring films
isn't just about where to put music but, more importantly, where not to put
music.
Highlight
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The Works лллл лллл The League of Extraordinary Gentlemen ллл ллл |
