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But there is some truth in what he says, I remember hearing some of Yared's work when it was put back in for the directors cut and I thought it was completely unsuited for the visuals I was watching. It was distracting. So maybe it just works better outside of the film as Horner suggested.
Only two of his cues were put into the director's cut, and they were both source cues. Neither of which really seemed out of place to me.
Back when the music first started to pop up, I experimented with putting the music back into the film using my own crude editing system and I was amazed at how much better the film played (IMO).
By comparison - and I say this as someone who has adored his music all my life - I cringed at so much of Horner's score when I first saw the film in theaters. It's the only score of his that I think is flat out bad. Like "nails on a chalkboard" bad.
Yared's, on the other hand, is one of my favorite scores of the '00s.
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