ABSTRACT
In the five years from 1989-93, Trevor Jones drew on aspects of his ‘toolkit’ idea on a range of film and television projects with dark narratives including Sea of Love (1989), Bad Influence (1990) and Detonator (1993). Over the course of these pictures he developed the concept, changing its focus from a directorial device to a creative compositional tool and moving more towards ‘atmospheres’ – electronic sound sets for specific cues in a score – in the scores for Freejack (1992) and In the Name of the Father (1993). The materials in the Trevor Jones Archive permit detailed exploration of the creative processes across these pictures, including in some cases consideration of the influence of the ‘temp track’ on the sound of the composer’s music. Jones also began to cultivate a more mainstream sound through the comedy Blame It on the Bellboy (1992), leading to the development of a symphonic voice and closer alignment with mainstream scoring practices for pictures including The Last of the Mohicans (1992) and Cliffhanger (1993).
