Harry Escott first came to prominence in 2005 with his score to the influential psychological horror film Hard Candy, directed by David Slade. Since then, Harry has worked with such stellar directorial talents as Eran Creevy on both Shifty and Welcome To The Punch; Michael Winterbottom on A Mighty Heart, The Road To Guantanamo, and Face Of An Angel; Clio Barnard on the multi award-winning The Arbor; and The Selfish Giant, a contemporary adaptation of Oscar Wilde’s short story; as well as Nick Broomfield on Ghosts; and perhaps most prominently, on Steve McQueen’s seminal sophomore film Shame.

Harry recently collaborated with PJ Harvey on An Acre of Land, a new song for Clio Barnard’s latest film, Dark River. Also this year, Harry has been working with Paddy Consadine on the score to his second feature, Journeyman; and with Michael Winterbottom on The Wedding Guest, a thriller starring Dev Patel and Radhika Apte.

For television, Harry composed the music for River, the BBC1 6 part drama penned by Abi Morgan, and the score was awarded the Music and Sound Award for best original TV score.

Away from the screen, recent works include a collaboration with the poet Lavinia Greenlaw for her sound installation, Audio Obscura, which won the Ted Hughes Award for New Work in Poetry and O Light Of Light, a reflection on Tallis’ O Nata Lux which was commissioned and performed by Ora Singers. Their album, Many Are The Wonders, which features Harry’s work, won the prestigious Opus Klassik award for best choral album in 2018.


An Acre Of Land from Dark River
‘Best of all is PJ Harvey’s bone-juddering voice, wailing “My Father left me an acre of land…” as the camera roams over the haunted contents of a sideboard.’

‘it’s rich, immersive, and full of depth… press play and imagine you are breathing in big gulps of fresh, unpolluted air and chasing after sheep’
Noisey (VICE)

The Face of An Angel
‘Harry Escott’s score effectively mixes the old and the new. Processed effects chug, whirr and throb menacingly beneath beautiful bursts of solo violin and countertenor. Occasionally Italian pop songs butt in and shatter the mood, but the real takeaway here is Escott’s Fellinia theme, five minutes and 30 seconds of heartbreaking loveliness.’

‘Harry Escott’s score heightens the poetic-exotic atmosphere of Hubert Taczanowski’s lensing, particularly in the final scenes which read more like a tone poem than narrative.’
Hollywood Reporter

The Selfish Giant
This film was chosen for its film quality, human emotion, exquisite cast and remarkable use of music and sound design’
The Jury – Awarded the Grand Prix for Best Film at the 40th Film Fest Gent.

‘Backed by an effectively spare score from Harry Escott that sometimes recalls his work on Steve McQueen’s Shame.’

‘…the music throughout is perfectly picked, most notably the original music,  a looming brassy theme by rising star Harry Escott.’
Indie Wire

‘… meaningfully framed long takes and tracking shots set to a controlled rhythm…allow the film to breathe, aided by composer Harry Escott’s resonant, largely cello-based score.’

O Viridissima Virga
‘… a stunning new piece for choir and ensemble that meditates on the Nativity entirely from a female perspective.

He sets poetic reflections on the Christmas story by Christina Rossetti, Emily Hickey, Alice Meynell and Elizabeth Barrett Browning, enclosed within two Hymns to the Virgin by the 12th century Benedictine Abbess, Hildegard of Bingen. The framing allows him to explore the infinite possibilities of Hildegard’s own plainchant, mellifluous and pure at the opening and then densely reworked in his own powerful polyphony at the close. Each of the intervening movements is an elegant vignette that could stand alone as an Advent anthem. Most notable among them is Alice Meynell’s ‘Unto us a Son is Given’ – an instant classic, beautifully crafted and gloriously sung by St Bride’s superb professional choir. Mary’s growing sense of foreboding for the torments awaiting her infant son is achingly captured by Elizabeth Barrett Browning and powerfully portrayed in Escott’s pungent writing…

His choice of instrumentation for the ensemble is crucial to the work’s overall effect; vibraphone and horn putting warm, concentrated points of light into the choral texture, and guitar and percussion adding an exciting edge and urgency. It’s not often that a new work feels as though it’s been in the repertoire for years, but this one does.’
The Observer (Stephen Pritchard)




The Wedding Guest
Director: Michael Winterbottom

Director: Paddy Consadine

Dark River
Director: Clio Barnard

Director: Alvaro Delgado Aparicio

Damascus Cover
Director: Daniel Zelik Berk

Tout, Tout de Suite
Director: Richard Berry

The Face Of An Angel
Director: Michael Winterbottom

The Selfish Giant
Director: Clio Barnard

Welcome To The Punch
Director: Eran Creevy

Director: Steve McQueen

Axis Of Light
Director: Pia Getty/Nichola Bruce

The Battle For Barking
Director: Laura Fairrie

I Am Slave
Director: Gabriel Range

The Arbor
Director: Clio Barnard

Director: Eran Creevy


Film cont.


Poppy Shakespeare
Director: Benjamin Ross

A Mighty Heart
Director: Michael Winterbottom

Director: Nick Broomfield

Deep Water
Director: Louise Osmond

The Road To Guatanamo
Director: Michael Winterbottom

Hard Candy
Director: David Slade

Miss Montigny
Director: Miel van Hoogenbemt

Peace One Day
Director: Jeremy Gilley


Short Film


The Sea is an Edge and an Ending
Director: Lavinia Greenlaw

Out of Darkness
Director: Manjinder Virk

Os Olhos Do Farol
Director: Pedro Serrazina

Directors: Joel Wilson & Jamie Campbell

What’s Your Name 41?
Director: Marcel Grant




Deep State
Fox thriller series

BBC drama series

The Frankenstein Chronicles
ITV drama series

New Worlds
Channel 4 drama series

What Remains
BBC drama series

Channel 4 drama series

Father and Son
ITV drama series

Michael Palin’s New Europe
BBC documentary series

Stephen Fry in America
BBC documentary series

A View From A Hill
BBC drama




O Light Of Light
For unaccompanied choir ca. 3′
Commissioned by Ora Singers

Audio Obscura
Sound installation ca. 30′
Commissioned for The Manchester International Festival

O Virdissima Virga
For choir and chamber ensemble. ca. 40′