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Bernard Herrmann reportedly rejected scoring "2001: A Space Odyssey" for Kubrick as well as "The Exorcist" for William Friedkin. IIRC, he didn't reject 2001 as much as he demanded double his usual fee, which made it a no-go. And he told Friedkin the only great film with credits at the end was "Citizen Kane," and the film he had just watched was no Citizen Kane.
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I'll bet there are many more than we will ever know about, particularly since it's extremely bad form in modern Hollywood to admit your opinion of a lesser film, because you don't want to discourage a future deal. In other words, it's much easier to say "sorry, I have a conflict" than to say "I can't save your film and don't want to be associated with it."
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Posted: |
Aug 13, 2022 - 6:09 PM
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By: |
Ruggles
(Member)
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I would add that there's a tendency to talk here in terms of offers and rejections, of composers more or less telling a filmmaker "I cannot be associated with this dreck, you delusional egotist!" There are many times when a composer might be in discussions for a project and ultimately choose not to participate. Sometimes, a creative contributor (of any kind) may simply feel that this project is not one where he or she can thrive, or which speaks to their particular skills or passions. To put it simply, Mel Brooks might admire Stanley Kubrick without believing he would be an asset to 2001: A Space Odyssey. On a recent television project I did, we had to replace the composer at the last minute due to illness. We spoke with another, who watched it and said it wasn't for him. It just wasn't his thing. There was no derision stated or implied. Thanks for sharing, Schiffy. I don't work in the film industry, so I always appreciate hearing from those that do and can shed light on subjects like this.
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He probably considered it about as risky as the landing at Inchon and figured that another miracle wasn't in the books.
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