Difficult to know exactly what happened with Herrmann on THE EXORCIST, as both the composer and the director seem to have their own version of the story (Herrmann claimed that Friedkin wanted co-composing credit despite not having written any music, which seems insane even by Friedkin standards). The consensus seems to be that Herrmann's insistence on recording in London was the dealbreaker.
Herrmann was also approached for Kubrick's LOLITA, but he didn't want to use the "Theme From Lolita," which had already been written.
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.
Wasn't it because he wanted to see the film first before scoring and they somehow refused? I could be thinking about something else entirely.
Difficult to know exactly what happened with Herrmann on THE EXORCIST, as both the composer and the director seem to have their own version of the story (Herrmann claimed that Friedkin wanted co-composing credit despite not having written any music, which seems insane even by Friedkin standards). The consensus seems to be that Herrmann's insistence on recording in London was the dealbreaker.
Herrmann was also approached for Kubrick's LOLITA, but he didn't want to use the "Theme From Lolita," which had already been written.
Friedkin had first turned to Bernard Herrmann—perhaps the greatest composer in the history of film—to see if he might be up for scoring The Exorcist. To Friedkin’s delight, Hermann was interested, so the director set up a screening. But it did not go well. At all. Recently, Friedkin wrote about the experience:
When he [Herrmann] came out of the screening room he said, “I might be able to help you with this piece of shit, but you’ll have to leave it with me, and I’ll see if I can come up with something.” I had heard he was an abrasive, no-bullshit guy, outspoken to the point of insult. Still, I was stunned at his reaction.
“Leave it with you?”
“Yeah, and when I’m done I’ll mail you a score,” he snapped.
“You’re not interested in my input or ideas?” I asked.
He cracked a weary smile. “Hey kid, how many pictures have you made? I’ve been writing music for forty years.”
“I love your music, but I’m too close to this film to just have you, or anyone else, mail me a score,” I replied.
“Lemme tell ya something,” he said. “You gotta get rid of that first scene, whatever it is in the desert. I don’t understand it and nobody else will either. The picture doesn’t start until you see that kid in her bedroom.”
Now he was losing me. “Out of curiosity,” I said, “what sort of score do you think this needs?”
“There’s a medieval church called St. Giles Cripplegate in the Barbican Center,” he said, “It’s got an amazing organ and beautiful acoustics. That’s where I’d record the score.”
“A church organ for The Exorcist? I don’t think so,” I said. My hostility was now echoing his.
I shook his hand and said, “Thanks for letting me meet an interesting person,” turned, and left. I respect Herrmann, and still love his work, but what good is it if you’re not on the same page?
I neglected to mention Malcolm Arnold ... who after winning an Academy Award for The Bridge on the River Kwai refused David Lean's Lawrence of Arabia.
Arnold also used his Oscar as a door opener.
Arnold was to coscore the film with Sir William Walton and Aram Khachaturian (and at one point, Lean even considered Richard Rodgers!) but Arnold and Walton turned him down (they said the feature film resembled a travalogue), while Khachaturian was reluctant to leave Russia.
I neglected to mention Malcolm Arnold ... who after winning an Academy Award for The Bridge on the River Kwai refused David Lean's Lawrence of Arabia.
Arnold also used his Oscar as a door opener.
Arnold was to coscore the film with Sir William Walton and Aram Khachaturian (and at one point, Lean even considered Richard Rodgers!) but Arnold and Walton turned him down (they said the feature film resembled a travalogue), while Khachaturian was reluctant to leave Russia.
Sam Spiegel, the producer, might have gotten a hand or two into it as well. Rodgers also wrote a love theme for the film. Clever man.
Friedkin had first turned to Bernard Herrmann—perhaps the greatest composer in the history of film—to see if he might be up for scoring The Exorcist. To Friedkin’s delight, Hermann was interested, so the director set up a screening. But it did not go well. At all. Recently, Friedkin wrote about the experience:
...
There's a good Friedkin interview about the whole story:
Well I guess Herrmann was wrong about that one. THE EXORCIST being the greatest horrorfilm ever being made. And also Friedkins choice of " music" was fantastic in my opinion.... Schifrin also would have ruined it....
There's another side of the story behind Bernard Herrmann and "The Exoricist" as recounted by Steven C. Smith in his excellent biography on Herrrmann, "A Heart at Fire's Center." According to Christopher Palmer, Herrmann "hated" the film and didn't want to do it. On top of this, William Friedkin apparently also wanted credit as co-composer and also wanted to be the musical director. And further, Friedkin apparently also wanted to share the music royalties with Herrmann. Again, this is all from Christopher Palmer.
Also, Friedkin's latest version of his own story above differs from his published remarks in Elmer Bernstein's "Film Music Notebook" from 1974, where he says that the reason Herrmann didn't do the film is because he didn't want to work with California musicians.
Interesting stories behind THE EXORCIST and its score.
Does anyone know if there's any truth to the story about Friedkin throwing the tape reel of Schifrin's score across a parking lot? If it's true, it doesn't speak well of Friedkin as a person. Even if he wasn't happy with what Schifrin had done, there are more mature ways of expressing it and dealing with it than throwing a tantrum of sorts...
Anyway, I hope it's not true because I do admire Friedkin as a filmmaker.
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.
Well we would be listening to a Rejected Bernard Herrmann 2001 Score.
For being such a great Film Composer, Bernard Herrmann, by so many accounts (and I enjoyed Friedkin's) surely was a miserable person, to talk to and about people the way he did.
Maybe someone should have devoted a book on "What was actually lodged up Bernard Herrmann's ass." instead of what a musical genius he was. Perhaps I'm being too harsh. If so, to those offended, I apologize. Rest in Peace.
Interesting stories behind THE EXORCIST and its score.
Does anyone know if there's any truth to the story about Friedkin throwing the tape reel of Schifrin's score across a parking lot? If it's true, it doesn't speak well of Friedkin as a person. Even if he wasn't happy with what Schifrin had done, there are more mature ways of expressing it and dealing with it than throwing a tantrum of sorts...
Anyway, I hope it's not true because I do admire Friedkin as a filmmaker.
William Friedkin was the only Director who could actually blow smoke up his own asshole! Well known Dictator. Cameron, Fincher, Bay, Russell are true dicks, but have nothing on Friedkin. There are many horror stories about William Friedkin, who also treated Lalo Shifrin like garbage.
For being such a great Film Composer, Bernard Herrmann, by so many accounts (and I enjoyed Friedkin's) surely was a miserable person, to talk to and about people the way he did.
Maybe someone should have devoted a book on "What was actually lodged up Bernard Herrmann's ass." instead of what a musical genius he was. Perhaps I'm being too harsh. If so, to those offended, I apologize. Rest in Peace.
Yep, Herrmann was no sweet Angel. Truly had something lodged up his butt…deep…Maybe it was a Hitchcock!
3) John Williams Was Originally Supposed To Score “Heaven’s Gate” Cimino may have been famously demanding of his cast and crew, including cinematographer Vilmos Zsigmond, who Cimino says he liked working with because of his “obstinacy” and refusal to just kowtow to his every whim. But one major, albeit necessary, concession that he made was in working with music arranger David Mansfield. Mansfield was only 24 years old at the time that he arranged the music for the film, including the variations on “The Mamou Two-Step” and “The Blue Danube Waltz.” In fact, “Heaven’s Gate” was, not surprisingly, Mansfield’s first job as a film composer. But after seeing him perform with Bob Dylan, producer Joann Carelli vouched for Mansfield and asked the young musician to submit a demo tape for Cimino’s perusal. Cimino was so impressed that he collaborated with Mansfield three more times, including the 1985 Mickey Rourke vehicle “Year of the Dragon” and the 1987 Christopher Lambert actioner “The Sicilian.”
Cimino, however, would not even have considered working with Mansfield had he gotten to work with his first choice: John Williams. Williams, who would work on the score for “The Empire Strikes” back later that year and then “Raiders of the Lost Ark” the year after that, had to decline Cimino’s offer because he was just offered a job as the conductor of The Boston Pops. Cimino understood that Williams’ demanding new job was a “once-in-a-lifetime opportunity,” and moved on. But while Mansfield’s rich score, full of moving folk songs inspired by Eastern-European traditions, is fantastic, it’s hard now to watch “Heaven’s Gate” and not wonder what Williams’ score would have sounded like.
I always heard that Cimino wanted John Williams to compose The Deer Hunter and Heaven’s Gate. But Johnny T was a very busy man, Superman, Jaws 2, TESB, The Fury, Raiders, and Plus Boston Pops Conductor.
