Joshua Winslow Groban (born February 27, 1981) is an author, composer, and American interpreter.
At the end of 1998, the young Josh (17 years old) was introduced by his vocal coach to David Foster, a producer, arranger and composer of world renowned music.
Thus, began an international career consisting of successful albums (Closer) and performances at prestigious ceremonies (Olympics, Oscars, Superbowl).
He particularly performed with Lara Fabian on the song For Always, in the soundtrack to AI: Artificial Intelligence in 2001 and the song Believe, in the film The Polar Express in 2004.
Official site: JoshGroban.com
The end of 2017 was marked by the expanded editions of Troy (2CD) and Titanic (4CD). After the interview with James Horner, who plunged us into the heart of the score composed for Wolfgang Petersen’s film, we publish the words of Troy’s two voices: Tanja Tzarovska and Josh Groban. CF) Why did you take on Troy the moment James Horner asked you ? JG) I’d have to be crazy to turn down an offer to work with a musician as renowned and as in demand as James Horner. In Hollywood, everybody knows everybody and David Foster was always going on about James Horner
To celebrate the release of Troy in 2 CD edition by Intrada (see our exclusive review here) we publish a archival interview in English of James Horner published in 2004 in the French magazine Cinéfonia. These are actually two interviews that we merged for this publication. Dive into the creation of Troy! Recall: The Words of James Horner is a series of articles intended to republish some twenty interviews Didier Leprêtre and Jean-Christophe Arlon conducted between 1997 and 2006 and published only in French in the magazines Dreams To Dream and its successor Cinéfonia. Unfortunately, the English-language audio tapes of the interviews
Thirteen years after the film's release, a limited edition 2-CD set of Horner’s epic score for Troy is now available from Intrada. In 2004, when Horner was announced as the composer of Wolfgang Petersen’s Troy, another composer was working for more than a year on its music. But once two test-screening audiences found Gabriel Yared’s score too ‘old-fashioned’, producers turned to James Horner, who previously scored Petersen’s The Perfect Storm (2000), to write a replacement score for the picture. The challenge was daunting, as Horner only had ten days to write and record the music for the film. With more than two