Conrad Pope is one of the most exciting, original voices in contemporary film scoring. He has contributed to more than a hundred movies, and worked on films of every genre and budget, making scores that “work” in almost every style. This “in the trenches” music making, working side by side with Hollywood’s top professionals—including Joe Johnston and Walter Murch on Universal’s The Wolfman, Scott Hicks on No Reservations and Gary Ross on Seabiscuit – has honed his ability to see films as a filmmaker does. Often the discussion of music in a film can seem abstract and nebulous. It is Conrad’s unique experience and dramatic perspective that has made him a valuable collaborator, able to effectively and concretely communicate with a director about the contribution music can make to their film.
Among his peers, Pope is not only regarded as a “musician’s musician,” but he is recognized as an imaginative musical dramatist, able to contribute a meaningful dimension to a film’s story: music, the emotional core of every film.
Pope’s passionate commitment to telling a film’s story with persuasive and compelling music has made him one of the most “in demand” scoring professionals. His long list of orchestration credits includes Star Wars Episodes I-III, Harry Potter and the Deathly Hallows I and II, The Tree of Life, Argo, Life of Pi, Moonrise Kingdom, and The Hobbit series, while his composing credits include My Week With Marilyn and Tim’s Vermeer. Today’s elite film composing talent – including John Williams, Alexandre Desplat, James Newton Howard, Jerry Goldsmith, James Horner, Alan Silvestri, Danny Elfman, John Powell, Hans Zimmer, and Mark Isham – have all called upon his gifts as an arranger, orchestrator and conductor.