Case Study: Olympus Has Fallen

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When Trevor Morris got in touch with me, I was already aware of his work on some more historical projects, such as The Tudors and The Borgias. Lovely period music – what would he want with a synth noise maker like me?

It turned out Trevor was working on a new Hollywood action thriller, full of guns, explosions and high octane action and was after some visceral synth production to add to his sonic palette.

He already had a great, established team he worked withregularly, including the likes of Mel Wesson and Steve Tavaglione, so being invited to contribute was a huge surprise and honour.

We established the sort of sounds the project could benefit from, with Trevor letting me know a couple of scores that the production team were keen on. Hard-hitting, cinematic and brooding was the direction to go in, so I decided to use a combination of Omnisphere and Massive to supply the noises. The focus was predominantly on stuff like gritty arps, ambient padscapes and deep booms. Anything that suited Gerard Butler sneaking about, taking down North Korean terrorists, basically.

Trevor’s resulting Olympus Has Fallen score was a triumph. Some really lovely, emotive orchestration, underpinned by a few modern action noises. I didn’t get a screen credit on this one, but it was an absolute pleasure to have played a small role in my first Hollywood film.

And now, they’ve only gone and blown up my home city in London Has Fallen haven’t they?!


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