MikeH

Actually Barry was initially offered Tomorrow Never Dies:  
 
https://perspectiveforum.net/2016/05/22/the-beyondness-of-things-my-bittersweet-relationship-with-barry-john-barry/
 
One of my personal goals was to reunite John Barry into the James Bond series. 
 
There was a lot of old history between Barry and the Bond folks and I felt I might be helpful in bringing a fresh approach into it without being burdened by all the prior baggage.After a lot of back and forth they ended up offering him TOMORROW NEVER DIES. I could not have been more thrilled.
 
However, things got really wonky during the negotiations with neither side agreeing over his fee with the difference being relatively minor. Both sides dug in their heels.
 
MGM said they were moving on without him.
I felt like I was the worst agent in the history of show biz. I was fumbling having John Barry score another James Bond film. This was unacceptable. As John’s agent I couldn’t let that happen. As a Bond music fan, I would kill me if I didn’t find a way to pull this off.
 
On Christmas Eve, with holiday music playing in the background (including Barry’s “Do You Know How Christmas Trees are Grown”) I decided something had to be done to fix it all and give it a perfect holiday ending.
 
So, I left word with the producer saying how important it was to me, as a fan, to have John score the film. I realized that the amount separating John and MGM was exactly the same amount as my commission would have been on this film. In the spirit of Christmas and of wanting this to happen so badly, I offered to give my commission over to the studio so they could then use it to make John the offer he wanted.
 
The only condition was that they could never tell him. I needed him to think the extra money had come from them.After leaving that message I sent to bed with dreams of The Great Barry/Bond Reunion dancing in my head.
 
The day after Christmas I got the call from the studio’s music department.“Are you trying to bribe us with kickbacks?” I was stunned. I quickly explained my sincere intentions to do right by everyone. She said they refused to pay John any more under any conditions and they were moving on.
 
I had clearly stepped into a vast quagmire of issues and people and history and personalities that predated me by decades.
 
I had failed.
 
Though he acted dismissive and a bit resigned to these setbacks, I couldn’t help but think how deeply they must have stung.

What version of Titanic did the Academy voters hear?

This is hilarious.
 
Never change, JWFan. Ever.

Yes, it is coming! Here is the album art (sneak preview)!!!
 
 

 
Improved text and layout (because I'm that guy)...
 

🤮

"Don't buy the Blu-Ray, com'on you hated the movie!!!"
 
 "Buy it, buy it, it may include an isolated score!!!"
 

Read posts you'll find out.

Yeah he looks heartbroken to be having forced a Williams theme upon him!

The Book Thief theme > everything in The BFG and The TLJ

Shoot them! Or something!

How fabulous is this! I think he is donating his originals, he will keep the copies of all of them in his own library. I mean they are on paper, they can be scanned so he can have copies
 
Also for all those idiots writing shit about him. Please! They can be as bitchy as they like. The guy has made a shit ton of money and done so doing what he loves. And BTW, when I was at Trinity College of Music in London studying post grad composition, they complained not only about Williams, but about Puccini, Rachmaninoff, Tchaikovsky, etc etc. Anyone who wasn't innovative or ahead of their time. I got sent out of the class one time because I argues the professor to death. He had "written" a piece called musical chairs in which any number of players would sit in a circle. One person would play something randomly and you would see how it changes as it goes around the players. So I said "I'm sorry, you want to complain about Tchaikovsky and Williams when you didn't even write a note and you call this a composition? You can't even write a toenail's worth of music of any of the composers you all like to complain about, Get a life!" It's all jealousy in the end. This man will be forever in the history books while many of his contemporaries, and pretty much all of the people who complain about him will be forgotten.

Great! I haven't bought this score in a few years!

Is that because you find the score rather corny?

"Here They Come, Again"
"Important Scene"

If I had to guess, I'd say he probably hates those scores and hates you in particular for liking them.

When I was a kid in the ’60s, I could not wait to get home to watch this TV show that started with this wonderful John Williams score: Lost in Space. I told him that, and he’s like, “Oh no, no. Oh…” He was so embarrassed. “But it’s wonderful, John! I mean, it held the promise of wonder and excitement and fun and quirky and scary and dangerous, and it was all in this one score. And John, the roots of your entire career are in that score.” He said, “Oh no, no…” I said, “Yeah! Can I play it?” “No, please don’t!” I said, “No, I really gotta play it for you.” [Laughs]
 
Well now we know why he no longer wanted to update his theme 😄

Hull, who is he? Is he a passenger?

A woman's heart is a deep ocean of secrets.

Too bad, the composer cares about his work, and wishes it to exist as a separate entity from the film. Sometimes that means axing bits and rearranging other bits to reflect the composer's idea of a concert presentation of their creation.

Hope we see documentary like this one
 
Still feel sorry for Jose Carreras

William Ross really did a good job writing the entire score

First reaction
 
YOU HAVE GOT TO BE FUCKING KIDDING ME
 
 
I AM OVER STAR WARS. TOO MUCH. TOO SOON. TOO MANY. TOO TOO.

I have the manuscript. It says "Orchestrated and Arranged by Henry Mancini" 
 
I like the segue note into JAWS:
 
 

I woke up groggy this morning (forgetting all about the announcements) and was reading through the Die Another Day thread when someone mentioned "over in the TITANIC thread" and I was like
 

 
 
Seriously great news to wake up to.  I knew it was going to happen someday, just not this soon...if you can say twenty years on is 'soon'.  It'll be very interesting to finally hear everything.  I just re-read the following interview with Don Davis which is a great insight to the process:
 
http://www.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4
 
_______________
 
PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it?
 
DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got.
 
PLUME: I think that's a perspective that not very many people saw in that.
 
DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent.
 
PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens.
 
DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much.
 
PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle?
 
DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room."
 
PLUME: Is it the film version of busy work?
DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy.
____________
 
I talked to Simon Franglen a few months ago about Horner's synth work and he said that Titanic was 'the score with no budget'.  About 60% was synth only.  They wanted to replace the synth choir (which Simon built from seven different synths) with the Harlem Boys Choir but there was no money to do so.  
 
Here's a news article about Horner's original soundtrack deal. Wonder how much Johnny gets per album?
 
Titanic Composer Sails to Bank
NEW YORK (Variety) - Forget the two Oscars he won for the music to ``Titanic.'' James Horner is creating more of a buzz for a ``Titanic'' soundtrack deal that has the composer homing in on a record payday that may be more than $20 million. Insiders familiar with the deal say it breaks down this way: Horner got an upfront scoring fee of around $800,000. But that's just the tip of the iceberg. He also gets royalty points on the instrumental soundtrack and shares publishing and songwriting fees for the Celine Dion hit ``My Heart Will Go On.'' Sources say the fees mean Horner will earn $1.20 per album -- a rate typical for platinum-selling superstar artists.