ABSTRACT
Since completing Around the World in 80 Days in 2004, Trevor Jones has worked in a wide range of areas of screen programming. 80 Days was followed almost immediately by a low-budget animated short, The Unsteady Chough (2004), and subsequent projects have seen him provide scores for the Japanese film Aegis (2005), the television series Jozi-H (2006–7) and Labyrinth (2012), the South African picture How to Steal 2 Million (2011) and the documentary My Hunter’s Heart (2011), among other things. After spending over thirty years in the film-music industry, Jones is able to choose the projects on which he wants to work, and this most recent period is the most diverse in his career in this respect. While the number of scores produced in the last ten years is relatively low for Jones, the range of project types makes interrogation of his approaches and processes invaluable for consideration of his continuing stylistic, practical and technological development and for understanding of the range of working practices employed by composers in the contemporary industry.
