Long before Tony Gilroy wrote “The Bourne Identity," made “Michael Clayton” or created “Andor,” he wanted to be a musician.
After playing guitar in a string of bands, Gilroy came to Los Angeles hoping to become a studio musician. A session with some real players quickly disabused him of that notion. But once Gilroy entered filmmaking, his fascination with the scoring process, and the orchestras that record them, kept growing. By the time Gilroy was overseeing the scoring of “Rogue One: A Star Wars Story” at the famed Gary Martin Soundstage on the Sony Pictures lot, something started percolating.
