Since 1990, Sussex film composer Harry Gregson-Williams has quietly built one of the most impressive repertoires in the film-score game. His brass- and percussion-heavy music for The Chronicles of Narnia lends the series a fantastical sense of suspense; his music for The Equalizer finds mystery and pathos in explosive electronics and peaceful piano. His otherworldly music for The Martian, which features warm and wavy synths, conjures the desolate landscapes of distant worlds. His creations find heart in the Crusades (Kingdom of Heaven), the gritty present (Gone Baby Gone) and everywhere in between.