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ScoreKeeper's Book Report Confronts Rejection - TORN MUSIC: REJECTED FILM SCORES!!
Greetings! ScoreKeeper here making my way to the front of the class in preparation for my latest book report presentation. Film music is not exactly a hot topic for book publishers so fans, enthusiasts and scholars don't often have the luxury of choosing between a host of varying titles in which to indulge. The publications we are fortunate enough to obtain can be fascinating treasures shedding light on the craft and industry of film music in unique ways.
One particular industry-related topic which often gets swept under the rug or buried deep in the bottom of inconvenient closets is the rejected film score. A rejected score is a score which has been composed for a film only to have the entire work "thrown away" by the filmmakers and a new composer hired to compose a replacement from scratch. How often does this happen? Perhaps more than you realize.
The rejected score is not a topic that composers who have experienced it like to talk about. Aside from picking at the scabs of heartbreak, there are often legal entanglements which lawfully oblige a composer to keep mum on the details of the situation in question. Many of these torrid tales are left to conjecture churned out by gossiping rumor mills of film music fandom; however, the rejected score is a fascinating topic. Not only do they lend themselves to juicy "soap-opera-esque" stories of betrayal but they also provide a fascinating "what-if" scenario that cinema aficionados can't help but ponder.
What if Stanley Kubrick had used Alex North's rejected score for 2001: A SPACE ODYSSEY (1968)? What if Alfred Hitchcock had never stained his relationship with Bernard Herrmann by throwing his score for TORN CURTAIN (1966) into the trash? What if Gabriel Yared's year long effort composing the music for TROY (2004) wasn't tossed out and replaced by James Horner in a mere two weeks?
TORN MUSIC: REJECTED FILM SCORES, A SELECTED HISTORY by Gergely Hubai has accepted the Herculean task of chronicling a selected history of more than three hundred individual films whose original scores were rejected and replaced by another composer. Having done his due diligence, Hubai's well-scripted words have turned rumors, urban legends and industry myths into historical fact by relying upon the testimony of the folks involved in the rejection in question.
Did you know that Patrick Moraz (keyboardist of the band Yes) originally composed a score for PREDATOR (1987) before Alan Silvestri was hired to replace it? Did you know that David Arnold wrote about five minutes of music for CUTTHROAT ISLAND (1995) before being fired and replaced by John Debney? Do you think you know the whole story behind Howard Shore's replacement on KING KONG (2005) by James Newton Howard?
This book confronts and answers these questions and hundreds more just like it.
TORN MUSIC has no rival. It is as unique to this industry as it is fascinating. Hubai delicately and diplomatically lifts the rug of Hollywood and examines nearly a century's worth of dust-ridden scores swept there in hopes they would be forgotten. While a handful of these discarded scores have throughout the years been released to the public on various labels, the overwhelming majority of these titles remain unheard and neglected.
Let's face it. Not every rejected score deserved its ultimate demise but perhaps a few of them did. While many will forever remain unheard by public ears, Hubai has at least brought a very unique spotlight to a host of these titles and composers who continued their careers bearing the heartache of having one of their "babies" rejected.
This book was published by Silman-James Press and is slated for publication in May 2012. I highly recommend it to every casual or ardent film music connoisseur who has ever pondered the classic "what if" questions that rejected scores inspire.
ScoreKeeper!!!
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Readers Talkback
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I would love to hear the rejected score for 2001.
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May 4, 2012, 8:57 p.m. CST
Jerry Goldsmith's originally score for Timeline was one of the few to get a release
by ahdvd
He was replaced by Brian Tyler after the movie went through heavy re-edits and no longer fit the music he had composed, it got a proper release on CD after his death, sadly more as a cash in, but it was nice to hear his work, and for it not to just be lost.
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A definite must-buy for me.
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i'd love to get my hands on this
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Alex North's score has been out for years on CD. It's probably available for download as well.
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Does it mention the infamous incident involving Lalo Schifrin's original EXORCIST score (which got released on CD a few years back)? Where Freidkin literally took Schifrin's 2" tape master and threw it into the street after hearing it with the film?
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Thanks for that. I'll purchase a copy.
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on a continual loop.
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May 4, 2012, 9:17 p.m. CST
I can't believe Hitch rejected herrmanns torn curtain score
by TinDrummer
That score is sombre and brilliantly strong. Talk about ego and stubbornness. This book is a must for me.
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...is a keeper !
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...if only...!
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May 4, 2012, 9:25 p.m. CST
David Arnold turned his rejected Cutthroat Island music into the bases for ID4!
by The_Genteel_Gentile
At least that's the word around the camp fire.
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Oh, wait a minute - they did ! <p><p>And it's one of the best scores ever !
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May 4, 2012, 9:31 p.m. CST
I'd really love to hear Mark Mancina's rejected music for Bad Boys 2!
by The_Genteel_Gentile
Seeing as Mancina's score for the first Bad Boys is an absolute action masterpiece, elevating a glossy patchwork of cliches into something fresh and rousing! Apparently Michael Bay thought it was too themeatic and wanted generic second rate Trever Rabin noise and Dr. Dre hand-me-down beats.:(
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May 4, 2012, 10:05 p.m. CST
They rejected my score for Air Force One...said it reminded them too much of Brave Little Toaster
by Ali Kerim Bey
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On my must read list
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I'm listening to the TRON: Legacy soundtrack right now... weird :)
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Sure the stories may be interesting, but I would love to be able to compare the rejected music to the score that did get produced. I realize that would run up the cost of the book so high, no one could afford it, but it would still be fascinating to listen to! I'll probably buy the book like a lot of you are going to!
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May 4, 2012, 10:33 p.m. CST
Some of Bernard Herrmann's rejected Torn Curtain score made its way into the 1991 Cape Fear remake
by Nasty In The Pasty
Elmer Bernstein adapted and conduced Herrmann's score from the 1962 original for the remake, but since the concluding action sequence on the runaway boat ran so long, he just plain ran out of music to adapt, so he stuck some of the Torn Curtain music in to fill in the gaps. Anyways, rejected scores tend to fascinate me...why waste a couple of million dollars recording an entire score, only to toss it away because of some idiots in a test screening? Why not just tweak the score? Varese Sarabande released a great boxed set of three unused Bernstein scores a few years back...The Journey Of Natty Gann (replaced by James Horner), The Scarlett Letter (replaced by John Barry) and Gangs Of New York (replaced by Marton Scosese's record collection). The last rejection stings the most, as GONY was one of Bernstein's very last scores, and the patchwork quilt replacement music was all over the map. I'd love to see the movie re-edited (wasn't there a much-longer cut at one point?) with Bernstein's music restored.
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You can get the cd from England. They got the Goldsmith score not the ridiculous Tangerine Dream score they used in the States.
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Yes, THE EXORCIST is covered in pretty good detail. More so than I had ever heard. An included CD would of course be awesome but I'm hoping a book like this not only generates public interest for these scores but perhaps may loosen up the chains that keep them all in purgatory. Who knows? There have been a decent chunk of rejected scores released. If 2001 was released, ANYTHING is possible. I don't know about an e-book release. It didn't mention it in the materials I received. You could hit up the publisher with an email. I'm sure they'd answer your question. http://www.silmanjamespress.com/shop/pc/contact.asp And if you would like to check out sample pages click here... http://www.silmanjamespress.com/shop/flippages/TORMUS/TORMUS.html
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I know I've got Goldsmith's score for "Legend" somewhere in my mess of a house, and I bought it here in the States. Great score. How in the world any director, anywhere, could decide to replace it with...Tangerine Dream! Then again, I guess Tangerine Dream was the "hot" new music scorer back in the dreadful '80s...
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May 4, 2012, 11:55 p.m. CST
How about Morricone's rejected score for 'What Dreams May Come'?
by Jason
I know that was a big deal here at the time the film was made. Actually, it was Goldsmith's score for 'Legend' that got me interested in the what could have been for film scores.
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Better have an entry.
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...is that I can name about 1000 film scores that I wish someone HAD rejected. The book sounds really interesting, though. Thanks for the heads up, scorekeeper. I doubt I would know about it otherwise.
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May 5, 2012, 1:32 a.m. CST
The Goldsmith score for Legend is playable on the Ultimate Edition release
by Jaka
I know this because I GREATLY prefer it to the Tangerine Dream score. I've never been a fan of Tangerine Dream's new age synth stylings. They sounded outdated at the time of their release and they just sound cheesy now. <p> I know some people will disagree. No attacking necessary - it's just my opinion.
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Goldsmith had 6 scores go unused. (Actually, 6 and a half since much of Alien was cut). Legend, Alien Nation, Gladiator (the 1991 boxing movie), The Public Eye, 2 Days in the Valley, and Timeline. The usual reason was a studio's panicked reaction to the realization that a film might be a potential bomb. The score is the easiest thing to alter after the fact. Or re-editing, which can cause an accepted score to no longer fit. In the case of Goldsmith's rejects, the films all pretty much bombed anyway, so the wisdom of cutting a Jerry Goldsmith score, probably one of the only aspects of the films to be working, seems pretty flimsy in retrospect. Legend, Alien Nation and Timeline received CD releases, Gladiator and 2 Days in the Valley have leaked out on bootlegs, and only The Public Eye is completely buried to date, although a snippet of the score appeared in the initial trailers.
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That is one of the rejected scores I like to listen to. Elliot Goldenthal's score was very good, but from what I've heard from George Fenton's version, It was much more suitable. There are two suites of his concert in London available on youtube!
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Why did Peter Jackson replace him? I thought they were a team like Burton/Elfman?
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It's obvious Lucas reused cues from Phantom Menace, but I heard he canned some of Wars music. Why? The reuse of the attack on Naboo music in that film always bothered me.
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Do they mention the hack-and-slash Weinstein Bros. fucked over Daniel Lanois, who refuses to let his Director's Cut score be used for what is reported to be an amazing version of the film?
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May 5, 2012, 8:53 a.m. CST
I have a poster for Waterworld that states the music was composed by Mark Isham
by jellypop
but his score was bumped. Is my poster worth anything because of this?
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Booooo!!!!
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Goldsmith was also on the other side of this happening, he replaced Graeme Revell on The 13th Warrior (which was originally Eaters Of The Dead but suffered re-editing by Michael Crichton and was re-named), and it's one of my favourite scores of Goldsmith's
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May 5, 2012, 11:55 a.m. CST
Sounds very interesting. Wish this book came a Blu Ray conaining all the SCORES!!!
by Proman1984
Wouldn't that be something.
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Am I the only one who noticed that a piece of score from Attack of the Clones was also used during the quidditch match in Harry Potter and the Chamber of Secrets? I don't recall which was released first.
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May 5, 2012, 12:21 p.m. CST
@oh_riginal you're right. quidditch and bounty-hunter chase same music. Clones released first
by Ali Kerim Bey
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May 5, 2012, 12:28 p.m. CST
I'd like to hear Howard Shore's rejected score for KING KONG...
by Mr. Pricklepants
To find out what made Peter Jackson decide to reject it and get someone else (James Newton Howard) to score it instead. Although, I don't know how much of the film Howard Shore got to score before he was replaced. Anyway, he's scoring THE HOBBIT (not like there was another option) so I guess he and Peter Jackson have put it behind them.
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I'm still not sure if this is a rumor that some websites have possibly mistakenly declared to be factual, yet the album "Themes for an Imaginary Film" by Symmetry is supposedly the original score for Drive. Symmetry is on the same label as The Chromatics, who made the song "Tick of the Clock" which is actually on the soundtrack for the movie (great band by the way). The Symmetry album begins with the revving of a car engine, and then contains about 2 hours(!) worth of music. It's not an album for people that like traditional scores and need the music to be attention-grabbing from start to finish.
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May 5, 2012, 1:06 p.m. CST
Alex North 2001's and Schifrin's Exorcist are beautiful, but SO WRONG for the movies
by Ricardo
The best examples of why a score may be rejected.
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Their thoughts on the films score? I ALWAYS pay attention to the music while i am watching. Its the glue to all films. What did you think of the what we have heard so far from Prometheus? I think we have another masterpiece on our hands. I have heard rumors of the Avengers original cut of over 3 hours?? Does anyone know if this is truth? If it is true the DVD can not come soon enough.
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Jerry Goldsmith also composed cues for POLRTGEIST III, and they were rejected for the Joe Renzetti score. I have some of the tracks and they're pretty in line with the first two pictures. Goldsmith's theme for the Nursing Home story in THE TWILIGHT ZONE movie was originially Norman's Theme from Psycho 2, until Richard Franklin cut it in favor of something more ominous.
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Goldsmith' score for Legend *was* used,on the international cut of the film, which is available on the "Ultimate Edition" DVD/BR. The international version is also half an hour or so longer than the US theatrical version, and is a far superior cut of the film.
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Yup, thats one I always wanted to hear - not as much as I want to hear why it was binned..
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"Relayer" (the album that Yes made with Patrick Moraz) is their best album, IMO, in part thanks due to Moraz. Moraz also wrote large parts of "Awaken" (off their next album) including the opening section, yet didn't receive any credit for it. Aaaanyway....
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May 5, 2012, 4:29 p.m. CST
Always been curious about the truth behind Howard Shore/King Kong
by mr_bellamy
What exactly were the nature of these "amicable creative disputes" between Shore and Jackson? Was it really Universal's decision, despite Jackson's statements to the contrary? Questions, questions...
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May 5, 2012, 4:38 p.m. CST
the orchestral score for Legend was better than the one they used
by thot
The Tangerine Dream score was interesting but Scott should have left it as it originally was.
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was started well before the film was made. While on the Tangerine Dream sound a likes I cannot beleive how many films they scored. I may get a little heat for this but it hampers Man Hunter. I did like the Wang Chung To Live and Die in LA which is similar but sticks out like a sore thumb. Has all the Alien original music been released?
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May 5, 2012, 5:30 p.m. CST
For me, it started with Gabriel Yared's rejected "Troy" score.
by 5_day_forecast
Way more delicate and... Biblical. Elegance might not have been what the producer's hoped for, however. Still - fantastic score. Should have been used. Won't hate on James Horner for his overnight redo, however. Repetitious as he's become these days, you've gotta be a damn professional to score a movie in less than a month and still have something that "really tied the room together".
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May 5, 2012, 6:45 p.m. CST
Jerry Goldsmith walks in and goes, 'Here's my score," and the director replaces it?
by Brian Hopper
I still can't get my head around how that could happen.
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May 5, 2012, 7:23 p.m. CST
My fave rejected film score story is how Phillip Lambro's score
by Brian Hopper
for Chinatown was rejected, and Jerry Goldsmith came up with a replacement score in less than three weeks. Lambro's score is serviceable (at least the bits I've heard, like in the original Chinatown trailer with Robert Evans' voiceover). But it's so weird trying to imagine Chinatown without Goldsmith's masterpiece of a score backing it. It takes the already great film to another level entirely.
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May 5, 2012, 7:31 p.m. CST
I should add the legend is Goldsmith did Chinatown in 10 days,
by Brian Hopper
although I've read elsewhere there were additional cues done over a period of about three total weeks. Anyway, the end result of that pressure-cooker situation was a work of film scoring genius, with cues like 'Love Theme from Chinatown' which is among the greatest two minutes in all of film music http://www.youtube.com/watch?v=BJ6b9kfI1Tw
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There have been some fascinating rejected scores released by the specialty labels over the years. Chief among them is Tom Scott's hugely enjoyable work on NEIGHBORS. You'd be hard-pressed to guess that it was written for a comedy. <br><br> Another I'm partial to (and I may well be the only one) is Jerry Goldsmith's ALIEN NATION. An all-electronic effort, but it's so maddeningly catchy. The love theme (the second score it appeared in, following its debut in Goldsmith's rejected WALL STREET score) would later be used in THE RUSSIA HOUSE. <br><br> A rejected score I'd love to hear in its entirety is Maurice Jarre's THE RIVER WILD. There's a suite of it on YouTube and it is amazing.
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... and that is that the composer who does the final score often comes up with - and records- music for key scenes that for whatever reason doesn't work or is rejected. or a good piece of music doesn't make the film because the scene is cut. i would guess (and it's just a guess) that some decent music has fallen by the wayside for just these reasons...
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May 5, 2012, 10:10 p.m. CST
Oh God, I can't imagine "Predator" without Silvestri's score.
by IronEagle74
wow.
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May 5, 2012, 11:43 p.m. CST
So am I the only one that prefers Tangerine Dream's LEGEND?
by The_Genteel_Gentile
There's no debating that Jerry Goldsmith is the vastly superior composer, but his LEGEND score is very much rooted in classical tradition and I think that aural history psychologically confines and limits LEGEND to our world and past. Whereas Tangerine Dream's music truely feels otherwordly, ethreal and oneiric. It occupies an entirely different emotion space and transports me to an entirely different sensorial experience. I really wish I could watch the director's cut of LEGEND with Tangerine Dream's more simple yet evocative score, because Goldsmith's just has an entirely different and, for me, less immersive feeling. Goldsmith's music is, as always, very good though. TD's just feels more perfect for this particular film to me.
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I don't want to buy the book but the story behind that score rejection interests me.
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May 5, 2012, 11:55 p.m. CST
John Barry's rejected "Prince Of Tides" score has got to take the cake!
by The_Genteel_Gentile
Barry later released the music as "Moviola" for a classical solo album and it is just about as majestic as music can be! http://www.youtube.com/watch?v=-lek7tqvV7s Of course James Newton Howard's music to replace Barry's was pretty darned good also! http://www.youtube.com/watch?v=mJVEPxGN8jY
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May 6, 2012, 2:25 a.m. CST
Graeme Revell's rejected score for THE THIRTEENTH WARRIOR is pretty great!
by The_Genteel_Gentile
Jerry Goldsmith's final score is better, but of course that's just a given. Goldsmith and Viking Adventure simply trip off the tongue like Fred Astair. I can still vaguely remember being enthralled sitting in the theater and seeing the first cryptic anouncement teaser for "Eaters Of The Dead", a dark new epic adventure from the director of "Predator" and Die Hard"! - And then years past. When the film finally did see the light of day it had a new title, "The 13th Warrior", and the composer originally cited on that announcement teaser's credit screen was curiously absent and replaced by the legendary Jerry Goldsmith! Novelist, Executive-Producer (and decent director in his own right) Michael Crichton infamously took control of the edit in post-production away from director John McTiernan, streamlining the story and reshooting the climactic confrontation scene in the underground liar with a younger, more agile and supposedly more imposing matriarchal villainess. I've always thought this a shame because although Crichton is a reasonably proficient filmmaker, he is certainly no John McTiernan (damn "Rollerball")! I feel you can tell within the finished film a certain lack. That some backstory and subplots have been clipped short, marginalized, or altogether striken that would have likelt provided a richer and more epic scopemto the film on the whole. A discerning eye can distiguish Crichton's more pedestrian reshot footage from Mctiernan's trademark virtuoso shooting style. While it was Crichton's decision to smartly change the name away from the confusing title of his novel, the one thing inarguably improved by his seizure was in bringing on frequent collaborator Jerry Goldsmith ("Westworld", "Coma", "The Great Train Robbery", "Runaway"). Graeme Revell's rejected music would eventually surface some years later and indeed prove to some marvelous work. Ahead of its time actually, in utilizing loads of ethnic vocals and instrumentations years before Hans Zimmer's "Gladiator" would make that type of sound all the rage. But as much as I'd love to see McTiernan's original intentions in a Director's Cut, and as much admiration as I do have for Graeme Revell's rejected music - I can not fathom disassociating "The 13 Warrior" from Jerry Goldsmith's rapturous and indelible themes. Truely a book or documentary detailing the tumultuous making of "The 13th Warrior" could prove most fascinating and invaluable. It's just a shame Crichton is no longer around to participate and explain himself. Whatever evils Crichton's intrusive interventions may have wrought, the masterstroke of bringing in Jerry Goldsmith is certainly not among them and in fact is so overwhelmingly choice as to almost negate and forgive whatever else may have transpired. Almost.
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i would like to hear pink floyds original soundtrack to the wizard of oz!
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Oddly enough, when Goldsmith's unused LEGEND score got released here in the States on CD back in '94, I snapped it up and hated it in comparison to the Tangerine Dream score. I even wound up just giving the CD away to a friend. HOWEVER, when I finally saw Scott's director's cut of LEGEND after it was released on a two-DVD set a few years ago, with Goldsmith's score, I did a complete 180. Goldsmith knew exactly what he was doing, and his score elevated the movie into something completely different. I can't even watch the U.S. version now.
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I'm a giant Goldsmith aficionado and have long thought The Russia House is a hugely underrated film with one of Goldsmith's best scores. But had no idea that The Russia House score traces back to work Goldsmith did for a rejected Wall Street score! Great thread.
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What a joke that situation is.
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May 6, 2012, 1:47 p.m. CST
I need to watch Scott's Director's Cut of LEGEND more, but on first watch...
by D.Vader
I prefer Tangerine Dream's score to Goldsmith's, which is a TOTAL shock. Maybe upon more viewings, I'll change my mind. But one thing is for sure, Tangerine Dream's track for the Dress Dance is MUCH better than Goldsmith's.
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Thats how I recall it when it originally aired on HBO back in the 80's. That is the imprint of the film for me- i kn ow when they change shit and most of the time I dont like it. I saw it replayed on one of the hbo showtime channels with goldsmiths score. I was rather confused and disapointed, no F'that! I was Angry that the music was different. Legends can be now and forever- Loved by the sun MF'ers!
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I just saw the movie at a theater here in Chicago yesterday, and I was blown away how good the score sounded. Can't believe he did it in three weeks (or ten days). That's remarkable. I've seen Chinatown a bunch of times at home, but it's never sounded so good.
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May 6, 2012, 6:26 p.m. CST
How come no one is mentioning that the excellent Amityville Horror score was the rejected Exorcist score?
by MENTALDOMINANCE
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May 6, 2012, 7:31 p.m. CST
Gabriel Yared score for Troy was rejected due to ONE viewer on a test screening
by Ricardo
Who wrote on the card "the music sounds old".
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"Atrocious, And it wasn't because Gabriel's not a gifted writer, it's because he just doesn't have any knowledge of writing film scores. REAL film scores like that. And it was like -- It was so corny. It was unbelievable." - Maybe Horner shouldn't have said it, but you know what? -- it's the truth. Preach! And the same can be said for anyone who doesn't implicitly agree with that statement (save for them even being a "gifted writer"). Sure Horner's rushed score may be utilizing all his usual tricks and cribbing a bit from David Arnold's "Stargate" score, but no one can argue that it doesn't work like gangbusters. Make no mistake, Horner knows his business and his business IS big commercial epic adventure music wrought with sentiment. Yared's music really is rather naive and hokey.
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See, I thought exactly the same way you did (and thejudger, for virtually the same reason; the Tangerine Dream version was my first experience with LEGEND) ... but not only does Goldsmith's version actually elevate the movie, the director's cut itself is a vastly superior beast to the original U.S. version. For some reason, when comparing the two, even while Goldsmith's score has no memorable hooks, and might even be considered one of his lesser works, it really locks with the movie in a way the Tangerine Dream version doesn't. It also actually alters the entire film; while the Tangerine Dream score somehow makes it darker and edgier (which is what Universal was hoping for, at the time), Goldsmith's score keeps the movie in a more classic fairy tale mode. Bear in mind, that doesn't make the Tangerine Dream score bad (and I'm even a fan of the Brian Ferry and Jon Anderson songs), I just think the Goldsmith score winds up being more fitting. Some of that, too, is the version of the movie it's serving.
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From what I heard, Mr. Shore, with a big head after winning the Oscar while at the same time, procrastinating like crazy, didn't write much music for King Kong and Peter Jackson didn't like the themes he had written to begin with, so he was fired from the project. Meanwhile, maybe the high fast one to the head was just what Mr. Shore needed because his music to the Hobbit already sounds tremendous.
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hearing a score in the theater heightens the appreciation of it. Goldsmith's Chinatown score has moments that really resonate in a theater. A lot of the great cues in the score are at transition points in the story and really jump out. A few that come to mind are the scene in front of the rest home when Jake beats the guy up and kicks the gun... Goldsmith's music kicks in at just the right moment and has a huge impact. And one of my favorite music cues in all of movies is the scene in Mulwray's backyard with Noah Cross... the second to last scene in the movie. The way Goldsmith's music builds as Cross says, 'It's not worth it, Mr. Gits. It's really not worth it.' [beat] 'Now where's the girl?' And then you get the cut to the neon signs in Chinatown with Goldsmith's incredible music behind it. Brilliant. I once saw Lawrence of Arabia at the Cinerama Dome, and realized I had never fully appreciated Jarre's score until then. The way his music fills up the theater, combined with the take-your-breath-away visuals, is truly awe-inspiring.
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The Herrmann one is superior, but I agree with Hitch that the farm murder scene didn't need scoring. Addison's score is okay, but a little too light. Herrmann's score helped add an emotional dimension that was lacking from Newman and Andrews' acting and most of Hitch's direction.
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Preaty much most of his music was replaced with Marco Beltrami cues (some from Scream 2 and Mimic)? I think he had a whole score rejected for Cruel Intentions as well.
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One of my favorite ironies in film scoring was Horner's Aliens and Michael Kamen's Die Hard scores. Cameron and Gale Anne Hurd didn't like his cue used for when the Queen was sucked out into space, so they chose to reuse his cue Bishop's Countdown, which has since gone down in history as one of the greatest cues ever. Fast forward two years later, and the producers behind Die Hard didn't like what Kamen had composed for the final scene when Karl returns one last time to kill McClane before Powell shoots him. They chose to dump Kamen's cue for that scene and used Horner's original composition that was dumped in Aliens' climactic scene.
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