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If I remember correctly James Horner turned down LOTR because his daughter was very ill at the time.
I thought it was simpler than that; that he simply wasn’t going to do any commuting to New Zealand.
IIRC it was because his daughter was sick that he didn't want to commute to New Zealand.
Basil Poledouris turning down Dances with Wolves because he wanted to score Flight of the Intruder out of loyalty to John Milius. The latter one eventually got delayed and Poledouris could've done DwW after all.
Elliot Goldenthal turned down Neil Jordan's The End of the Affair because he was working on Titus.
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Posted: |
Jan 24, 2022 - 12:49 AM
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By: |
CindyLover
(Member)
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Weren't there some murmurs that Williams turned down HEAVEN'S GATE once upon a time?
https://www.indiewire.com/2012/11/john-williams-turned-down-scoring-heavens-gate-more-learned-from-the-criterion-edition-of-michael-ciminos-cult-film-103529/
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.
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Basil Poledouris turning down Dances with Wolves because he wanted to score Flight of the Navigator out of loyalty to John Milius. The latter one eventually got delayed and Poledouris could've done DwW after all.
You've gotten your flights mixed up. You meant Flight of the Intruder.
I knew I should've double checked which one the Milius one was  Thanks
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Weren't there some murmurs that Williams turned down HEAVEN'S GATE once upon a time?
After they spent approx. 44 million USD on Heaven's Gate Mr. Williams was deemed too expensive
check out Steven Bach's Final Cut about the fall of United Artist Studios (Which Heaven's Gate helped achieve) Excellent
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I knew I should've double checked which one the Milius one was Thanks
I can't imagine a John Milius version of Flight Of The Navigator.
...although I can imagine a Basil Poledouris score to Flight of the Navigator! Although to be fair, I can also imagine a better Alan Silvestri one ;-)
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FAME - Giorgio Moroder
MIAMI VICE - Tangerine Dream
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I knew I should've double checked which one the Milius one was Thanks
I can't imagine a John Milius version of Flight Of The Navigator.
I didn't get the films mixed up though, just the titles.
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Weren't there some murmurs that Williams turned down HEAVEN'S GATE once upon a time?
IIRC, both Williams and Morricone were considered but turned down Heaven's Gate for various reasons. Better for them. :-)
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I think some of these stories are quite interesting. I remember both Horner and Kilar were in the (Usenet-) talks (back in the day) for LORD OF THE RINGS, though I always wondered how far that actually went and who approached them.
Take James Horner, for example, at that time at the zenith of his film score fame and quite possibly a very natural though predictable choice for THE LORD OF THE RINGS. Out of the available composer roster at the time, he'd have been a fairly "obvious" choice at the time. But Kilar? A name in the European classical concert scene, with a long history of film music, but probably known to most film fans in the US for his music to BRAM STOKER'S DRACULA. The music of Wojciech Kilar is VASTLY different from the music of James Horner... I wonder how you'd go from Horner to Kilar or vice versa. The movie's tone would have changed completely.
In the end, they went with Howard Shore, who provided an excellent score, but one that sounds completely different from what Horner or Kilar would have done. It's hard to imagine the LORD OF THE RINGS now with a Horner or Kilar score (would have been interesting though). Jackson said Shore was always his first choice, so I wonder if others of the production reached out to Kilar and Horner, and if that was even the same person?
I remember Sean Connery was in the talks back in the day to play Gandalf (and turned down the part), but IIRC, that idea came from New Line, not from Peter Jackson. Jackson wanted McKellen for Gandalf after seeing him in some footage with Patrick Stewart, who was at one time suggested to play Gandalf.
It seems so odd they they had considered both Horner and Kilar (I could understand either consideration, but both seems just strange, as their music is so very different), so maybe they were approached from different parts of the production.
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