 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I just recently heard or read this somewhere.
Looking for my source. Can anyone expand until I do so?
What other composers had a lot of rejected scores?
Carter Burwell:
-Thor 2
-Gangster Squad
-August: Osage County
-Serenity
-The Bourne Identity
-Gigli
-Kiss the Girls
|
|
|
|
|
|
You probably read it on my Rejected Film Scores site (there's also a page on the site called Statistics). But got it wrong. Counting demo cues/scores, as well, it's:
1st place: John Barry
2nd place: Elmer Bernstein
3rd place: Jerry Goldsmith
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Also, one has to consider, what does "rejected" score mean... by no means are all of the often mentioned "rejected" scores "rejected" in the sense that the composer wrote something, and the producers didn't like it and "rejected" it in favor of another score. Sometimes, a composer deliberately wrote something differently from what was requested, sometimes the movie changed several times during post production, so that the written score didn't work anymore, and the original composer wasn't available anymore to do the final score.
|
|
|
|
|
|
Unfortunately, the stories of what happened on every score that didn't end up in a film, isn't available or the people involved want to keep it under wraps. I shove know rejected scores and ones we don't know the stories of, under the section "Rejected", then ones where the score couldn't be used for some reason or another under "Un-used". And then I have a "Demos" section as well.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"I thought Georges Delerue had the most rejected scores for some reason. Which leads me to a question... Why are so many of his scores rejected? Didn't the directors and producers know what they are getting when they hired him?"
Many producers and directors don't seem to know what the hell they want or how to describe what they want. I keep remembering David Giler on the Alien Quadrilogy boxset extras saying he thought Goldsmith's score for ALIEN sounded like PATTON. (What a impossibly ignorant numbskull.)
|
|
|
|
|
|
|
|
|
|
Certainly not Delerue, even if I wento the top ten replaced composers, even possibly the fifteen top replaced composers.
I'm sure there is a story behind each score that wasn't used by Bernstein, and aside from "Gangs of New York" (which was heavily re-edited and the score no logner fit; I don't recal if there was any new filming or re-filming), my own personal guess for the frequency is that much like Barry, while one of the greatest compsoers who ever lived, Bernstein was from another time in scoring and for the most part it appeared he wasn't translating into what films started to become.
I think back to, for example, a fine rejected score to "The Journey of Natty Gann". Again, a fine score, but it was simply not for the film. Listening to what he did and what Horner did, I just don't think Bernstein "got" the film, from watching to musically speaking (the change to Horner was the right decision). And I think this might have been in other later films as well.
|
|
|
|
|
|
|
|
|
|
|
