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I don't know if there is a thread about this in the board, but I'm interested about information about thi, quite different from rejected scores. I'm pretty sure everybody knows about the following
John Williams turned down The sentinel and Meteor (and Heaven's gate?), and probably hundreds of big budget movies.
John Barry apparently turned down GoldenEye.
Wojciech Kilar turned down Femme Fatale, and siad in an interview he regretted it.
Ennio Morricone famously turned down Inglourious basterds (replaced by music already published), but I read in some interviews that he did the same with Pulp Fiction and Million Dollar Baby
John Powell apparently did it with Mad Max Fury Road and other projets (Carrie?, Captain Phillips?) because he was taking a sabbatical or wasn't interested in violent movies.
Does anyone know any more? Anything that Goldsmith, Jarre, Bernstein turned down?
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Research since 2004. Contacting composers, producers, directors, other people; reading interviews, listening to interviews, watching some interviews (those are rarer), and otherwise anything I couldn't think of that I did.
Actually, the Supposedly list was easier to do than the Rejected list.
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Posted: |
Apr 20, 2015 - 12:21 AM
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By: |
ian64
(Member)
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Interesting subject. I keep thinking of whether Goldsmith in his '80's period actually became anathema to producers of high-profile projects due to his penchant of devoting his talent to scoring either unmemorable time-fillers, unsurprising mainstream fare or complete dogs. Of course, you had a Rambo or a Gremlins for box office boost, but I can't help but feel that producers and directors looked at Goldsmith and avoided him thinking that his field of project choice was mainly exploding stuff, popcorn trivialities and low-grade pap. Williams and Morricone were the other end of the scale, the former especially, latching onto sleekly-made money-spinners of quality or dramas of prestige.
Goldsmith's resume, including Supergirl, Link, King Solomon's Mines, Rent-A-Cop, Baby: Secret of a Lost Legend, Mom And Dad Save The World, Rambos II and III, and many, many more, suggested a composer who was very keen on hard work and expanding his musical style, but didn't appear to give the quality of the material he was supposed to enhance a second thought. No wonder his agent urged him to seek better projects worthy of his time and talent.
Yep, it's the old Goldsmith Saving A Bad Film With Good Music tune being played once more, but the '80s really was a weird time when he'd scored anything that wasn't nailed down. I'm just wondering if movie producers of A-List projects just looked at what Goldsmith was doing and thought 'nah'.
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Goldsmith had to turn down the opportunity to score The Bodyguard due to his commitments on Forever Young (according to his music editor Kenny Hall on the Under Fire audio commentary).
Damn, that would have been a lucrative payday, royalty-wise.
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Goldsmith had to turn down the opportunity to score The Bodyguard due to his commitments on Forever Young (according to his music editor Kenny Hall on the Under Fire audio commentary).
That must have been after John Barry walked away from the film. He was first composer, due to his association with Costner in the aftermath of DANCES WITH WOLVES.
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You can simplify that link:
http://www.rejectedfilmscores.150m.com/list.html
In regards to Outland", I'm not confusing it with another film. Horner clearly states (bolding mine):
Ed Gross - Q: "Would you consider Corman to be your big break?"
Horner: - A: "I look at my career in terms of milestones. At the time I'm sure I felt it was an important advance. Then I did some work for Orion [P]ictures on OUTLAND, which was my first "A" picture, if you consider that an "A" picture. It was my first big budgeted film. From there I did several other films, and I guess that my next big milestone was STAR TREK II. Now I've gone beyond that by doing such films as GORKY PARK, The DRESSER, UNCOMMON VALOR and TESTAMENT. Thank God I did TESTAMENT."
By the way, it's budget is far higher than "The Hand". In fact, TH is not mentioned in the above quote, or referenced. TH was an "A" picture?
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Posted: |
Apr 20, 2015 - 8:18 PM
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By: |
iain k
(Member)
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In regards to Outland", I'm not confusing it with another film. Horner clearly states (bolding mine):
Ed Gross - Q: "Would you consider Corman to be your big break?"
Horner: - A: "I look at my career in terms of milestones. At the time I'm sure I felt it was an important advance. Then I did some work for Orion [P]ictures on OUTLAND, which was my first "A" picture, if you consider that an "A" picture. It was my first big budgeted film. From there I did several other films, and I guess that my next big milestone was STAR TREK II. Now I've gone beyond that by doing such films as GORKY PARK, The DRESSER, UNCOMMON VALOR and TESTAMENT. Thank God I did TESTAMENT."
By the way, it's budget is far higher than "The Hand". In fact, TH is not mentioned in the above quote, or referenced. TH was an "A" picture?
Your source is someone's message board post, where?
In the above snippet Horner is talking about the Orion Pictures movie that came after his New World (Corman) movies and before Star Trek II. That is "The Hand" (1981). "Outland" was also 1981 but was produced by the Ladd Company, not Orion.
Horner has said in a number of early interviews that "The Hand" was his first big break. Including this one (http://www.runmovies.eu/?p=5839) from 1983:
"… Then I worked for Roger Corman at New World Pictures and various other independents until I got my first big film break from Orion Pictures to do THE HAND."
Lastly, your snippet must be an interview from 1983 or 1984, earliest (films mentioned). Why would Horner look back from 1983 and say that "Outland" was his first "A" picture?
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