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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. 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, The Equalizer, and, most recently, The Equalizer 2.

Gregson-Williams is writing the music for Disney’s live-action feature film Mulan, scheduled for release in 2020. Some of his recent film projects include The Meg, directed by Jon Turteltaub; Aardman Animation’s Early Man, directed by Nick Park, for which he received an Annie Award nomination; and Disneynature’s Penguins. For television, he and his brother, composer Rupert Gregson-Williams, most recently wrote the music for the limited series Catch-22, directed and executive produced by George Clooney for Hulu. 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 and received an Emmy nomination in 2018 for the episode titled “The Commuter.”