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I don't know about JUDITH (though I tend to doubt that Rozsa had anything to do with it), but as for MUTINY ON THE BOUNTY, there was no Rozsa score rejected for the film, because there never was a Rozsa score for the film. Miklos Rozsa did not write so much as one note of music for the film.
MGM had penciled (yada yada yada) Samuel Bronston had contacted MGM about securing Rozsa's services for his independent production of EL CID (which, unlike KING OF KINGS, was not to be an MGM release).
Normally, the studio (Yada, yada, yada) difference and use it to defray the cost overruns on BOUNTY.
You cannot imagine (yada, yada, yada) (where he had never been), and the opprtunity to research the music of Mediaeval Spain and write what turned out to be one of the masterpieces of his film-scoring career.
Congratulations, O-thinkr. Even though you completely miscontrued the topic of this thread, you have shown your ability to read liner notes is right up there with the best of them.
Carry on.
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<>
I seem to recall both North and Goldsmith (Goldsmith especially over at the Sand Pebbles website) stating that Goldsmith got the project because North fell ill and couldn't do the music at the time.
Wasn't that on another occasion?
At least the liner notes to Varèses DE of Sand Pebbles state that North was bothered with the violence...
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Didn't Williams reportedly balk at doing Michael Winner's THE SENTINEL? He was touted for months as being signed to do it and it was listed among his coming credits in the 1976 program for the annual Royal Albert Hall "FilmHarmonic" concert he conducted that year.
His supposed reaction to an initial viewing of the final cut was, "I'm not doing this--sue me"-- leaving Gil Mellé to clean up the mess. (This may be apochryphal. I doubt many composers have this kind of aesthetic integrity, short of Bernard Herrmann.)
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Posted: |
Jun 11, 2004 - 11:09 AM
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By: |
Morlock1
(Member)
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Odd, because I think if he'd come-up with something of the order of KRULL, it would have been phenominal.
Krull is a great score, but nothing at all like what LoTR needed. Shore did an amazing job, created a musical world.
and I believe Horner said he turned down HP and LoTR because he wasnted to do A Beautiful Mind.
Horner, for all his faults, has a knack for fantasy and sci-fi. Certainly much moreso than Shore, who is really only at home in the horror genre.
He's also great with comdies. Big, Mrs. Doubtfire, Dogma and, my favorite- Ed Wood, which is such a great score.
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Horner (why does that name *keep* cropping up?) also rejected Verhoeven's Flesh + Blood, because he thought it too violent and disturbing. Poledouris consequently jumped at the chance, and the rest, as they say, is history.
Well at this point I wouldn't call that a "rejected score".... I mean, SOOOOO many composers have turned down projects. No point in listing them as if that really means something!!!
Dan
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Nicholas Meyer had no intention of using Goldsmtih's theme for VI. He wanted something different and had originally wanted to use Holst's "The Planets" for the score. It was deemed to expensive so Eidelmann came up with something similar yet re-freshing and really delivered.
Goldsmith's theme would not have worked because the tone of Star Trek VI was dark and it really needed a different style in music.
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Didn't Williams reportedly balk at doing Michael Winner's THE SENTINEL? He was touted for months as being signed to do it and it was listed among his coming credits in the 1976 program for the annual Royal Albert Hall "FilmHarmonic" concert he conducted that year.
His supposed reaction to an initial viewing of the final cut was, "I'm not doing this--sue me"-- leaving Gil Mellé to clean up the mess. (This may be apochryphal. I doubt many composers have this kind of aesthetic integrity, short of Bernard Herrmann.)
The real reason why John Williams did not do the score for THE SENTINEL was because he was so grossed out by this film that he fainted during the scene in which Christina Raines stabs out the eye of her dead father.
When Gil Melle was signed by Michael Winner to score this film, Winner asked Melle: "You're not going to faint on us, Gil?" He refused to tell me who the composer was until I mentioned Williams' name. I have this on tape and in an email from Gil.
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).
