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John Williams - Titanic. Was approached by James Cameron, was too busy scoring The Lost World.
happily!
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Posted: |
Jan 25, 2022 - 7:49 AM
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By: |
William R.
(Member)
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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.
Friedkin himself was also bit of a devil to work with, at least on THE EXORCIST. In the scene where Ellen Burstyn is shoved to the ground after trying to wrest the crucifix from Reagan, the reaction we see is Burstyn in genuine pain and surprise, which is what Friedkin wanted. There were other stories of Friedkin shooting guns and slapping actors across the face to produce convincingly shocked reactions. To say nothing of the completely unprofessional way in which he informed Lalo Schiffrin that his score would not be used....this is why I feel we can't fully trust Friedkin or Herrmann on what went down, although the interview segment quoted above by mssmith sounds reasonable.
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And yet, despite all of the inflammatory stories about Herrmann, there seem to be just as many stories of his generosity, kindness, and loyalty. Laurie Johnson, for one, remained a life-long friend and business partner of Herrmann’s.
Re Rozsa. Well…in his elder years he scored “Providence” which is laced with shocking profanity as Gielgud suffers painfully through his dark night of the soul -- really almost as profane as a Tarantino film. It is subtle as to themes and dramatic nuances, of course.
I always remember and endorse North’s comments when he accepted his Honorary Academy Award: “I would like to make a humble plea to all of us involved in the movies, and that is to encourage and convey hope, humor, compassion, and adventure, and love, as opposed to despair, synthetic theatrics, and blatant, bloody violence. And sex, sex, sex, by all means, indeed, but with a bit of mystery, a touch of charm and elegance, and lots of imagination.”
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I seem to recall that Morricone turned down Bertolucci for The Last Emperor after having burned himself out on the Oriental music he wrote for the Marco Polo miniseries.
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Didn’t Rozsa also turn down MUTINY ON THE BOUNTY?
Yes, I needed to recharge the memory batteries on this. In 1961 Rozsa, still under contract to M-G-M, had completed KING OF KINGS and was sought by Samuel Bronston for EL CID, with the promise of more luxurious accommodations in Spain on Bronston's (borrowed) money. Rozsa had read the BOUNTY script and was becoming aware of the troubled production. Bronston promised Metro that Rozsa would finish in time to score BOUNTY, "but I had already decided otherwise." So eventually the studio "had to give MUTINY to somebody else." Rozsa expressed some satisfaction that EL CID was a great success while MUTINY was a disaster which nearly finished the studio. But he was confused when he said in Double Life that the two pictures came out together. MUTINY was delayed for a whole additional year -- a troubled production that Rozsa was glad to have avoided.
Bronislau Kaper scored Mutiny and wrote a beautiful love theme "Follow Me". Mancini covered it on his "Our Man In Hollywood" album.
Robert Armbruster conducted. Film Score Monthly released a 3 disc set for their Silver Age Classics series.
I think it was in 2004.
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Is it my imagination, but did I read somewhere that Jerry Goldsmith turned down John Carpenter's THE THING? Can anyone clear this up for me? Cheers
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I would guess a lot of these examples were never really offers.
How would you define a real offer?
Showing a film to a composer for consideration, isn't that an offer?
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James Horner turned down a request by his friend/collaborator Mel Gibson to score THE PASSION OF THE CHRIST, which went on to become a HUGE Box Office hit.
It certainly didn't harm Horner's (already stellar) career and boosted John Debney's, who stepped in.
I think it was refused by Horner due to the films somewhat anti-Jewish sentiments(?).
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James Horner turned down a request by his friend/collaborator Mel Gibson to score THE PASSION OF THE CHRIST, which went on to become a HUGE Box Office hit.
It certainly didn't harm Horner's (already stellar) career and boosted John Debney's, who stepped in.
I think it was refused by Horner due to the films somewhat anti-Jewish sentiments(?).
I indeed have always wondered what the reason was Horner didn't score this one.
This does remind me that Gibson had asked Carter Burwell to score The Passion of the Christ as well but he turned it down because he was working on The Alamo
http://www.carterburwell.com/projects/Conspiracy_Theory.shtml
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Wasn´t Basil Poledouris also attached to Total Recall (1990) once, but had to decline and Jerry Goldsmith stepped in and saluted Poledouris by making a Main theme that was inspired by Basils Conan the Barbarian? I think I read or heard this somewhere (maybe on a Veerhoeven commentary or something) and it might have said so on the teaser trailer too?
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