What rejected scores would you like to get released/recorded?
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Just out of curiousity on top of my list of rejected scores that I would like to listen to are Shore’s King Kong and Desplat’s Rogue One. Even though I would probably be disappointed. But you never know.
What scores do the others here on their wishlist?I did a podcast episode on rejected scores in 2016, and I see from the selections there that all of them have been released — both the eventual ones and the rejected ones.
Except for ONE — Ennio Morricone’s WHAT DREAMS MAY COME. Yes, there’s a decent-sounding bootleg, but it’s never been commercially released. Which is a scandal, because it’s one of the finest things Morricone ever wrote, easily in my top 5 (and no offense to Kamen’s score, which was okay).
Another contender is David Arnold’s THE PATRIOT. I dig the John Williams score (despite its autopilot feel and cribbing of his own AMISTAD), but judging from the 5 minutes of Arnold’s rejected score that HAS been released, that sounds very good too. I think he recorded the whole thing(?), so a release of that would be great.
Several more that I’ll think of later.
I agree with all of your choices so far, would be very interesting. I didn’t even know Desplat wrote a score for ROGUE ONE.
Howards KING KONG would also be great. Wonder if material already ended up in another score. Also didn’t know about Desplat’s ROGUE ONE.
Early orchestral David Arnold could be fun. He also does not do big movies anymore like Doyle but as far as I know it’s also at least partly his choice.
I didn’t even know Desplat wrote a score for ROGUE ONE.
Yes, he was the official composer. But then came all the reshots etc., then something happened and Michael Giacchino was asked to deliver a new score within four weeks before the official release in cinema.
ROGUE ONE was such a frustrating experience for me. I loved the film, but a lot of the experience was ruined by Giacchino’s godawful music. I’m not sure how Desplat would have been instead, as I dislike most of his output too, but slightly – just slightly – better than Giacchino, I would suspect. Typical that of all the thousands of composers out there, two of the ones I liked the least were involved with this film.
I’m kinda curious what Paul Haslinger did for THE WOLFMAN, before being replaced by Elfman. If memory serves, it was Elfman, then Haslinger, then Elfman again. Similarly, I would have loved to hear more of Danna’s THE HULK, even though some of it ended up in Elfman’s score.
And did Mark Isham ever write anything substantial on WATERWORLD before being replaced by James Newton Howard? JNH’s score is one of my 10 favourite scores of all time, but I’m still curious to know what Isham did beforehand.
but a lot of the experience was ruined by Giacchino’s godawful music.
I didn’t find Giacchino’s score that awful. Actually one of his better ones as most of his film scores also leave me rather cold (after being nearly a fan at his beginning and especially LOST), although certainly not the same leve las Williams or even Powell’s SOLO.
Didn’t know about the back and forth of WOLFMAN. Haslinger would surely have been quite different. Also didn’t know about WATERWORLD. The JNH is indeed a good one.
Talking about Desplat. Just listened to a German review of Del Toro’s Frankenstein where the critic called Desplat “the talentless son of Tschaikowsky and Johann Strauss” and his music in that movie “might be good enough for candy commercials but that’s it”.
On the movie itself the critic said something interesting. Frankenstein’s ambition was to create life from dead material, but Del Toro goes the opposite way and creates only overstyled lifeless images of that world.
Sorry. I know, it’s off topic, but I didn’t know where to put it.
Talking about Desplat. Just listened to a German review of Del Toro’s Frankenstein where the critic called Desplat “the talentless son of Tschaikowsky and Johann Strauss” and his music in that movie “might be good enough for candy commercials but that’s it”.
Always kind of funny when film scores and composers are mentioned over here, if at all. Still so often with some snobism like that. Have it on my notification list on Netflix.
Where was that review?
Perhaps we should/could have topic like “Did they mention the music” for such findings Did’t have FSM have a column like that, too?
Ah, thanks, I know that channel and watch it every now and then, too. Will watch it later. “Der Harald Glööckler des Films” sounds already hard, probably no one outside Germany understands that 😉
Sorry. I know, it’s off topic, but I didn’t know where to put it.
It’s always possible to start a new topic on any composer who doesn’t already have a thread. I wouldn’t start one on Desplat, I think, but I’d probably comment in one.
It’s always possible to start a new topic on any composer who doesn’t already have a thread. I wouldn’t start one on Desplat, I think, but I’d probably comment in one.
It didn’t cross my mind. But like Malte said, a general thread about people’s or specifically film critic’s statements about film composers might make sense. I save that idea for the next time.
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