Howard Shore, the music you have created is very diverse. Where does this diversity come from? 

I grew up with a group of friends who became writers, directors and actors. So I always felt I was part of a repertory company. We did drama, we did comedy. Through that foundation in theatre working as a young musician who became a composer, it was natural for me to work with different genres. 

What music do you listen to when you are alone? 

I enjoy music the most when I listen to it in a live setting. I go to the opera regularly. Two of the pieces that I most enjoyed are new works: Nico Muhly’s opera “Marnie” and also Thomas Adès’ new opera “The Exterminating Angel” – they both excited me. If I’m listening to recordings I usually do that for research. Since I’m working with the virtuoso violinist Ray Chen on a score for a new film called “The Song of Names” I’ve been listening to violin concertos from Bruch and Dvorˇák.

You are being honored with an award at this year’s Zurich Film Festival and you will judge premiered compositions as the jury president of the International Film Music Competition. What does this mean to you?

I am honored to have been invited to the 20th anniversary of the Zurich Film Festival to receive the Career Achievement Award and to be the jury president of the 12th International Film Music Competition. I am looking forward to the Cinema in Concert Gala with the great Tonhalle-Orchester Zürich conducted by Frank Strobel celebrating the art of music in films. The competition is a great opportunity to allow emerging film composers to present their work in a beautiful concert hall and showcase new perspectives.

You live in the countryside. Does this serene environment inspire you? 

Absolutely. I live in a 19^th-century house in an old oak forest. As the house was restored, we also restored the garden that led into the forest, so we’ve lived in nature for many years. As the house and the gardens improved, my composition also improved. So nature is very important for me. I receive a lot of inspiration from it and I think my connection to Tolkien in creating his world with music was through nature.

On the other hand, you also spend time in New York City. Do these contrasting locations influence your work? 

Well, I like the access to the city really for the theatre and the opera. But I prefer to write in the quiet environment of my studio in a more 19th-century setting.

Can you describe the methods that you use for composing? 

The music is created in counterpoint and harmonic sketches. I visualize the music and create the scores with pencil and then orchestrate in ink.

In “The Lord of the Rings” we see vastness and impressive landscapes. And in “Panic Room”, the claustrophobic atmosphere makes us feel despair. How do you prepare yourself for the different emotional requirements of a job? 

I did a lot of research before sitting down to write anything for “The Lord of the Rings”. I had six months of research reading and studying Tolkien’s world, studying what impact he had on culture when the books were released and the influences that let him create his world. I’m interested in the historical aspect in works like that. Tolkien’s book was a constant companion during the almost four years that it took to write and record the piece. For David Fincher’s “Panic Room” my work was different. It’s not based on historical context, so I watched the film and I tried to capture the subtexts, the emotions. I could visualize the music that I wanted to create in my mind.

Like your music, the world is a very diverse place. Which parts of the world are your favourites? 

I love being in New York, Switzerland and France. Because of my connection to the music director of the Hof Church, Ludwig Wicki, I go to Lucerne regularly to work with him. He is a great conductor. We have a strong friendship and he introduced me to the beauty of Switzerland.

You have received many awards for your work. Is there a specific one that has the most meaning for you? 

I’m grateful for all the acclaim of my work and I love the fact that people listen to it and enjoy it. And I am very grateful for the Oscars and the Grammys and all the musicians that I’ve worked with. But the thing I love most is talking to children and upcoming musicians, finding out that they are interested in my music and want to know how something is done. It’s very enjoyable to have something positive out in the world. 

 

Win 2 x 2 Tickets to the "Cinema in Concert" Gala!

Fancy a night at the gala? We're giving away 2x2 tickets for you and a guest to the exclusive Cinema in Concert gala!

Event Details:

• Date: Saturday, 5 October 2024
• Time: 20:00
• Venue: Tonhalle Zurich
• Info: International Film Music Competition

Entry Deadline:
Make sure to enter by 24 September 2024, 23:59 for your chance to win!*
*The entry deadline is closed.