Ken Harrison: A Conversation

If you've read this blog before, you know how much I love the music.  In fact, love may be an understatement: the show simply would not be the same without the feature film-quality scores that are heard throughout the series from beginning to end.  I was born with perfect pitch, so I can't help but be extra attuned to music, and it just so happens that this show has my favorite music of any show that I've ever seen.  When you combine that with the show's adventure and the sensitive hero with a conscience, it's no wonder that 10 year-old me felt like this show was created just for him.

But enough about me! Along with Randy Edelman and Dennis McCarthy, Ken Harrison is one of the big 3 when it comes to MacGyver music.  Starting in Season 3, he worked on 46 episodes (one-third of the series), and his impact was immeasurable.  Mark and I asked him a few questions, and he was kind enough to share his thoughts.

NS: I'm interested to know more about the timeline and mechanics of a typical episode shoot.  I'd imagine you get the script a certain number of days or weeks ahead of time?  Then what was your process to go from the script to the finished product?  Are you on set and talking to the producers and directors?  Or is the episode complete and then you add the music back in?  And did you have an orchestra at your disposal?

KH: OK - it is quite a process.  They usually have a 7-10 day shoot. I only received scripts or requests to be on set if there was any music playback on set or pre-recording involved. I usually saw an episode after it was LOCKED and ready to post. A work print.  Both the sound editor and composer would work from this print. I would attend what is called a SPOTTING SESSION.  In attendance would be the music editor, producer, associate producer and sometimes the director.  We would then discuss music placement and talk concept at that time.  I would then have approx one week to compose the score.  Prior to 1991, orchestras were hired per session depending on orchestration needed.  I did select the orchestra and gave the breakdown to the orchestra contractor who made the calls. The two MacGyver Movies in the 90's were both shot in England with Richard Dean producing.  They looked fabulous and that score was 70% electronic and sweetened with 15 live musicians in Vancouver BC.  THAT was a fun time.  I have written an excerpt from that score for our local symphony orchestra. MacGyver ended before all episodic TV went electronic.  It happened over night.  Within 12 months, the only live orchestra used for underscore was STAR TREK.  A talented music community died quickly.

NS: Tell me about your creative process - how do you come up with a theme? 

KH: No clue. That is the magic.  Prior to starting a score, I do try and listen to similar styles by some of my favorite composers to get the juices flowing. It just happens. I was fortunate enough to work on series or movies that required different music all the time.  So it forced me to learn many styles of music. I started composing for Fantasy Island.  EVERY week was a different adventure. A different opportunity to learn. I even had to write Mermaid music!!  That was different.

MH: Were there any episodes or individual musical scores for MacGyver that you remember most fondly or are most proud of? 

KH: There were several. I loved the westerns. Rick loved westerns as well. That is why we did LEGEND after MacGyver finished. But there were some episodes that made me stretch and challenge myself musically - PASSAGES, GOOD KNIGHT MACGYVER, HARRY'S WILL ( music was fun) THE COLTONS - ( again, music was different than the norm for the series) and the two Mac Movies - TRAILS TO DOOMSDAY and TREASURE OF ATLANTIS.

NS: Just to name a few, I think your work on Good Knight MacGyver, Passages, Bitter Harvest, and The Stringer was particularly distinctive and memorable.  I love the Good Knight MacGyver score.  I wrote a book in which some of it takes place in a medieval castle, and as I was writing that part, your theme just echoed through my head the entire time - it fits the mood perfectly. 

KH: I am glad I gave you inspiration.  Again, the magic of music at work.

MH: You began working on the show in Season 3 when it moved to Canada.  When it moved back to L.A. in Season 7, was the work arrangement like there - did you move to L.A. also?

KH: I was living in LA at that time.  I was only going to do one episode as I was just getting off Matt Houston - a Spelling action cop show.  TONS of notes and music per episode.  I was tired.  However . . . .  I got sucked into to a great group of people who actually respected and cared for each other.  The cast, crew and production staff were like family.  And it showed on the air, didn't it?? When it went back to LA - I believe we still recorded the score in Vancouver with the exception of one episode - I did that electronically in my home studio here in Washington State.  I moved here in 1991.  

NS: More of an open-ended question, but what do you remember most about the show? 

KH: Just the "team effort". Everyone tried to show up on the dubbing stage to support their contribution, whether it was music, writing, sound effects, special effects.  Again, we were a team.  It was rare. I believe one who had the opportunity to work in this business for a number of years (23 for me) can count on one hand how many projects had the family or team feeling.