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Elliot Goldenthal
DEMOLITION MAN ---> BATMAN AND ROBIN
Elliot Goldenthal
DEMOLITION MAN ---> MOST GOLDENTHAL SCORES
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It's not always easy to tell. Miklos Rozsa did it from time to time, but a lot less than other Golden Age composers. His main 'El Cid' hero theme is a Hispanicised rework of the 'Lancelot' theme in 'Knights of the Round Table' but it takes some looking to notice.
I hate to say it, but many 'drone/wail/ostinato' mainstream scores today are so indistinct from one another that you couldn't make a plagiarism suit stick or fall even from one composer to another!
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Broughton RESCUERS DOWN UNDER --> LOST IN SPACE.
Which I never realized until I bought and listened to the newest fully expanded releases (that were released on the very same day).
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Lee Holdridge was asked to reprise his theme from Wizards and Warriors for the National Geographic Presents Explorers: A Century of Discovery. That's a bit literal though.
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Posted: |
May 23, 2016 - 1:54 PM
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By: |
Goldentones
(Member)
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James Horner, as excellent as his scores were, is definitely the most notorious for this.
Star Trek II's staccato violin melody (heard throughout, they start the end titles) is from Horner's TV movie Rascals and Robbers from earlier in 1982. The crescendo at the end of ST2 was later featured in The Rocketeer, Titanic, Avatar, The Amazing Spiderman and the finale to his concert piece Pas de Deux (possibly in others too).
The action music from Aliens (Futile Escape) is from Star Trek II also.
Windsong from Mighty Joe Young is in part from Jumanji (listen to the track Alan Parrish).
One of the themes from Glory (Lonely Christmas) was reused as the main theme to The Pagemaster.
An American Tail and The Land Before Time both end their first tracks with the same gentle chord progression, which was also used in Honey I Shrunk the Kids, *batteries not included and The Pagemaster.
The track "The Dance" from the Four Feathers was reused as a main melody in For Greater Glory.
Sneakers, Bicentennial Man and A Beautiful Mind all have melodies based on the same chord progressions.
etc, etc.
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Elliot Goldenthal
DEMOLITION MAN ---> BATMAN AND ROBIN
Elliot Goldenthal
DEMOLITION MAN ---> MOST GOLDENTHAL SCORES
"The Beast Within" from Alien 3 re-used in Cobb (although at least it was credited). An Alien 3 track was also used in Titus, I believe.
Also, Goldenthal's "angry rock" music in Alien 3's "Wreckage and Rape" reappears for the biker gang in "Batman & Robin."
And there are several instances of music reuse in the James Bond series: Monty Norman's "Dr. No" score appearing in "From Russia With Love," an earlier version of the James Bond theme appearing in "You Only Live Twice," David Arnold's "The Name's Bond...James Bond" appearing in "Skyfall," but I don't know of any cases that specifically reflect the composer's wishes to reuse their own music in another film. Newman lifted pretty heavily from parts of "Skyfall" in writing "Spectre," but as far as I'm aware those parts were rerecorded and featured some variations.
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Goldsmith's soft piano love(?) theme from the rejected score to "Gladiator" (1992 boxing movie), found it's way as a theme in multiple cues in the 1993 film "The Vanishing". He did something similar with another theme from a rejected score, which found it's way into another rejected score before it found it's way into a film score that was used.
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