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I guess Hans Zimmer turned down quite a lot the last quarter of a century, and handed it over to other Media Ventures/Remote Control composers.
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Bernard Herrmann turned down Stanley Kubrick's 2001: A Space Odyssey if I remember correctly, because he wanted twice as much money because of Kubrick throwing out Alex North's score. Herrmann was asked to score 2001, but not to replace North. North's score was thrown-out late in the game, when there was (according to Kubrick) no time for a re-score. John Williams turning-down the final Harry Potter film has to count as one of the more significant examples. Jerry Goldsmith turned-down Star Trek II. Miklos Rozsa turned-down Body Heat (he thought the film was disgusting). John Corigliano turned-down Greystoke Trevor Jones turned-down First Knight.
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Malcolm Arnold turned down Lawrence of Arabia and Dr. Strangelove. Alfred Newman and Bernard Herrmann turned down Laura (at the time that film was not considered that big either).
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I remember reading in an interview with Paul Verhoeven that James Horner turned down Flesh + Blood because he thought the screenplay was too violent.
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John Williams turning-down the final Harry Potter film has to count as one of the more significant examples. It's not entirely correct to state that he turned it down. He expressed interest to score the final movie, but scheduling and other prior commitments didn't make it happen.
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John Williams turning-down the final Harry Potter film has to count as one of the more significant examples. It's not entirely correct to state that he turned it down. He expressed interest to score the final movie, but scheduling and other prior commitments didn't make it happen. Well, yes. He turned it down in favor of other assignments.
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Reading that Rozsa was disgusted by BODYHEAT...Somehow ROZSA seems to be like an old man not being able to stay "fresh". He once said that films for him are not being made anymore, which I find a really narrow minded viewpoint. And I think in a way it was vice versa...he wasnt the right choice anymore and just dated maybe. As much as I like his work and he is one of the greatest GOLDEN AGERS...but he seemed to be pretty much backward facing....or am I wrong ? I think 'backward' is an exaggeration. Rozsa was already into his seventies before 1980 ... so he was an old(er) man. Many senior citizens criticize younger people for not possessing the moral standards of previous generations. Rozsa was not the only one, either. Bear in mind that when the MPAA rating system took hold in 1968, many audiences were offended/turned-off/outraged by nudity, bloodletting violence, simulated sex, profanity, etc. Frank DeVol refused to write music for Robert Aldrich's The Killing of Sister George because of its lesbian content. Alex North even turned down The Sand Pebbles due to several scenes of gruesome deaths. I recall Jacques Loussier claiming that a violent death scene in Dark of the Sun made him queasy ... and did not John Williams refuse Michael Winner's The Sentinel because of a gory scene? [around the same time Rozsa also refused Larry Cohen's God Told Me To] Imagine showing Stuart Gordon's Re-Animator to any of the above men! Decades further back likely had numerous such examples of composers refusing to work on pictures due to content. We may not be aware of much of this because anecdotes may be lost to time and older vintages are of less and less relevance to subsequent generations.
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I'm not sure Rozsa was offered Body Heat. According to Lawrence Kasdan he met with several composers to gauge their responses to the film and what they might offer. I take it that while meeting with Rozsa, Rozsa just said he wasn't interested. To my knowledge, Kasdan has never mentioned who any pf these composers were other that Barry. John Barry said that he turned down Anne of a Thousand Days and the English Patient. The former got an Oscar nomination for best score (Delerue) and the latter won a best score Oscar (Yared).
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