"Narnia" composer has become a franchise player (Reuters)

LOS ANGELES (Billboard) - For the 2005 movie "TheChronicles of Narnia: The Lion, the Witch and the Wardrobe,"composer Harry Gregson-Williams was given an ambitious task:Write the score for a movie where the good guy is a talkinglion who is a literary allusion to Jesus, the bad guy is acandy-toting wicked witch and the whole action is set in afantasy world entombed in winter that children access via awardrobe.

Gregson-Williams delivered, earning Golden Globe and Grammynominations for the film's score.

In late 2007, he received a new assignment from Disney: Canyou do all that again?

Scoring "The Chronicles of Narnia: Prince Caspian," thesequel to the original hit that arrives in theaters May 16, wasdaunting, Gregson-Williams admits. But in an industry wheresequels are the studios' bread and butter, composers often arepushed to expand their vision and find new themes in theirprevious works.

For "Caspian," it was a matter of picking up some of theunderlying themes in the first film and expanding upon othersfrom the new one. "A composer is one own's harshest critic,"Gregson-Williams says. "I thought, 'I'll take that scene anddevelop it,' and 'I don't think I'll bring that scene withme."'

Gregson-Williams says he had the benefit of "Caspian"taking place in a vastly different Narnia from "Wardrobe" --one that is ravaged by chaos and war. "Narnia is not quite sobeautiful and snow-laden," he said. "The place is a wreck whenthe children arrive there."

As a result, the score is more foreboding and imposing thanthe one for "Narnia," in which Gregson-Williams tried toexpress the Pevensie children's glee in finding an alternativeworld.

In addition, he has two new major characters to introducemusically: the titular hero, Prince Caspian, and the tyrannicalLord Miraz. "Prince Caspian is being pursued from almost thestart of the film," he said. "The tone of the movie is moreurgent, dark, driving."

Beginning in December, Gregson-Williams composed andrecorded the score in London, winding up with more than twohours of symphonic score that will be used in the film.

It's not the first time Gregson-Williams has taken on ascore for a sequel. He worked with "Caspian" director AndrewAdamson on the "Shrek" series has composed scores for severalversions of the "Metal Gear Solid" video game franchise.

Working with Adamson again was critical to "Caspian,"Gregson-Williams says, because he's developed a comfortablerapport with the helmer. "He basically said, 'You've donesequels, for God's sake,"' Gregson-Williams says, laughing."We've got no excuses for not knowing each other's nervoustwitches. He certainly knows how to get the best out of me."

Reuters/Hollywood Reporter