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Williams was attached to score Brian De Palma's Mission Impossible?


aviazn

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NPR ran a story this week on the Mission Impossible scores over the years, and tucked away in it was this throwaway anecdote:

Schifrin's main theme heralded the show for all seven seasons. When director Brian De Palma took the Impossible Missions Force to the big screen 30 years after the TV show's premiere, he wanted to bring the theme along with him. That led to a creative conflict with composer John Williams, who wanted to work with a new theme of his own. So De Palma turned to Danny Elfman, who treated Schifrin's classic tune like an old friend.

http://www.npr.org/2015/07/30/427731324/four-composers-one-nearly-impossible-mission-to-reinvent-a-classic-theme

I guess I'm ignorant, but this was news to me. Silvestri had a score rejected on that one, no? Was Johnny really supposed to score this before him, or is perhaps the reporter (or their sources) confused? Was anything ever written?

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Yeah, very improbable.

Interestingly, back in the mid 60s, the production company Desilu had several pilots to choose from as their next big betting. The one they eventually chose was MISSION: IMPOSSIBLE, and a good choice it was. But another pilot on the table was NIGHTWATCH, the Robert Altman pilot with a score by John Williams. That one was never picked up (but the pilot score amazingly got a soundtrack release on FSM a few years back). That's about the only connection between John Williams and M:I that I can think of.

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I thought the original story was that DePalma didn't want to use Lalo's theme when Silvestri was doing the score, but changed his mind along the way.

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Tim replied on Facebook:

according to film editor Paul Hirsch, Williams was interested in / in talks to score De Palma's M:I, but only if he could use his own new theme.

Thanks a lot for getting to the bottom of this. That's really interesting.

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Wow! How come we had no idea of this? Too bad, could have been great.

Johnny should have used the theme though, but I guess at that point in his carreer he wasn't going to do someone else's themes.

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Femme Fatale is clearly underappreciated here! His last best movie.

That's a fine one too -- very underrated. But as I said, PASSION was great. Got a lot of good reviews (thank God!), but as usual with De Palma, also some bad ones. People either seem to "get" him or they don't.

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I haven't seen it either but it got wildly inconsistent reviews. Roger Ebert's site reviewer gave it 4 stars, but the overall on opinion was largely negative.

I'll try any De Palma once. I added it to my Netflix queue.

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Thor, your memory is weird. Passion came out in 2012!

And both it and Femme Fatale are fucking awesome!

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He was also supposed to score The Iron Giant apparently, but I don't know why he didn't in the end. Probably schedule or money issues.

That's a shame. It would have been much more interesting than either of his other 1998 scores.

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Thor, your memory is weird. Passion came out in 2012!

And both it and Femme Fatale are fucking awesome!

Ah, was it 2012? It premiered in Norway last year, I think (or it could be 2013). But yeah, I'm terrible at remembering years.

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Considering how well Williams and De Palma did on The Fury, it's a pity they never collaborated again on further projects.

Indeed.

Carlito's Way is the last one I really enjoyed. He's hit and miss.

Femme Fatale is clearly underappreciated here! His last best movie.

Two of his best.

De Palma is hit and miss to an extent. But, at least for me, when he hits, it's a truly great film, and if he misses, there's usually at least something (often a lot) to admire. There's a technical skill to his style that can be good enough to emotionally involve me, even if the film as a whole cannot manage that.

Bonfire of the Vanities is one of the few that hardly achive that.

I actually think it didn't receive a general release till 2013.

Passion's release was pretty low-key. I'd been waiting for it for years and don't even know if it received a general release here. I still haven't seen it - I'll have to import the Blu-ray at some point.

De Palma's Blu-ray catalogue is a sad affair as far as I'm concerned. Plenty (or perhaps even all) of his early classics have been released by now, but where's Casualties of War (announced but apparently never released), a decent transfer of Mission Impossible (from what I read, the current one sucks), and where are Raising Cain, Snake Eyes, Mission to Mars and Femme Fatale?

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Tim replied on Facebook:

according to film editor Paul Hirsch, Williams was interested in / in talks to score De Palma's M:I, but only if he could use his own new theme.

But then... was Williams DePalma's second choice, after he rejected silvestri's score because he wanted the TV theme in there?.

Williams as second dish meal...outrageous!

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Yea...... did it go Williams -> Silvestri -> Elfman, or Silvestri -> Williams -> Elfman?

Or is Mr. Grieving misinformed, and it only went Silvestri -> Elfman, with no Williams involvement?

Well, it sounds like Williams never wrote a thing for it anyway....

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Or is Mr. Grieving misinformed, and it only went Silvestri -> Elfman, with no Williams involvement?

My educated guess is this. It doesn't sound like Williams to set weird terms like that.

But I do wonder why De Palma never went with....you know, Lalo Schifrin?

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