Ricardo Mortimer 43 Posted January 24, 2020 Share Posted January 24, 2020 He was asked but refused for any reason to composed the score... Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted January 24, 2020 Share Posted January 24, 2020 John Williams' Harry Potter and Deathly Hallows Part 2. https://www.harrypotterfanzone.com/david-heyman-david-yates-on-alexandre-desplats-deathly-hallows-music-john-williams-returning/ Though I do like Alexander Desplat's score. crlbrg and Ricardo Mortimer 2 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,196 Posted January 24, 2020 Share Posted January 24, 2020 HP2 Link to comment Share on other sites More sharing options...
Popular Post Ricardo Mortimer 43 Posted January 24, 2020 Author Popular Post Share Posted January 24, 2020 I know about Superman 2: Composer John Williams was originally slated to score Superman II in which he was given a screening with Ilya Salkind and Richard Lester. When Salkind left the projection room, Williams and Lester fell into an argument, and when Salkind returned, Williams told him that he "could not get along with this man". To take his place, Richard Lester's frequent composer Ken Thorne was selected to score the sequel. (Wikipedia) I want to see someone argue with him or how Williams yell at someone igger6, The Illustrious Jerry, Edmilson and 3 others 6 Link to comment Share on other sites More sharing options...
mrbellamy 6,334 Posted January 24, 2020 Share Posted January 24, 2020 I believe he was the first choice for Treasure Planet. I've seen people mention over the years that Alejandro Amenabar asked him to score Agora but can't find a source. Might have been interesting if true. Ended up with a nice Dario Marianelli score. Oh and of course Bridge of Spies and Ready Player One. Link to comment Share on other sites More sharing options...
Sandor 798 Posted January 24, 2020 Share Posted January 24, 2020 Titanic? Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,676 Posted January 24, 2020 Share Posted January 24, 2020 To this day, I'm convinced that JW was approached for LOST IN SPACE. Link to comment Share on other sites More sharing options...
mrbellamy 6,334 Posted January 24, 2020 Share Posted January 24, 2020 The fact that he's never scored a Matt LeBlanc movie is truly criminal. igger6 1 Link to comment Share on other sites More sharing options...
Popular Post E-Wan 65 Posted January 24, 2020 Popular Post Share Posted January 24, 2020 Here are extracts from Scott Bettencourt's six-part article called "TIMELINES: JOHN WILLIAMS" which was published on FSM website in 2007: 1974:Williams was originally announced to score Robert Altman's gambling drama, CALIFORNIA SPLIT, which featured his actress wife Barbara Ruick in a supporting role. Ruick died unexpectedly of a cerebral hemorrhage during the filming and Williams left the project, though despite his personal tragedy (which inspired his violin concerto), he kept working. 1976:Around the same time, Williams was announced to score Michael Winner's Satanic horror film THE SENTINEL, but wisely backed out at the last moment -- reportedly due to illness, but probably it was simply good sense, as anyone who has seen Winner's film can attest to. It was the first of many incidents were Williams would back out on a project that turned out to be a disaster. 1979:Williams was also announced to score two science-fiction films that proved to be expensive disasters. QUINTET was a bleak post-apocalyptic drama from Robert Altman, with memorable visuals but little in the way of narrative excitement or emotional involvement. It would have been fascinating to see what Williams could have done with such dark material -- especially since Williams' previous collaborations with Altman were so musically unusual -- but Williams left the project, and the striking score was written by Tom Pierson (who was later the music director for Altman's Popeye). METEOR was a big-budget disaster film with a George Pal flavor, but the troubled project ended up with a lengthy post-production period as the effects were redone (and still came out surprisingly cheap looking). Williams' departure may have been due to the scheduling delays, but it proved to be a commercially wise choice. Laurence Rosenthal's score had some fine passagea, especially his soaring main theme, and, ironically, unlike Dracula and 1941, his score was short-listed for the Oscar (in the last year of the Original Score shortlist) -- it was a rare year that Williams had new scores but no Oscar nominations. 1980:Around this time, Williams bailed on two particularly infamous flops. Michael Cimino's visually staggering HEAVEN'S GATE had Williams attached at one point (and Morricone was also considered for the project), but Williams wisely departed (leaving The Missouri Breaks as his final Western score to date), and Cimino went in a markedly different direction with the young composer David Mansfield, whose folksy score proved to be one of the film's most popular elements; he went on to score three more features for the controversial director. INCHON was an epic about a pivotal battle of the Korean War, financed by Reverend Sun Yung Moon, with Terence Young (From Russia with Love, Wait Until Dark) directing an all-star cast headed by Laurence Olivier as General MacArthur (no, really). The film's U.S. opening was delayed, as major subplots and characters were cut out completely, and it was released very briefly in the fall of 1982 before disappearing completely (as far as I know, it has never been released on video or cable). Jerry Goldsmith ultimately provided the score (which gave him the rare opportunity to write a second theme for MacArthur), a lively work which is practically the only thing about the movie that has survived. Considering how great a part of Superman's success his score was, it was only natural that he'd be invited to score SUPERMAN II, much of which was filmed concurrently with the first Superman (though Richard Lester replaced Richard Donner for the completion of the film), but ultimately the film was scored by Lester's regular composer Ken Thorne, basing virtually his entire score on Williams's themes and cues (effectively if unimaginatively). One of Superman's producers has claimed that Williams met with Lester about scoring the film but had such a negative reaction to the director that he turned the job down. Considering how famously easygoing both Lester and Williams are, this scenario is less than plausible -- it's far more likely that the Superman producers simply didn't want to pay Williams' fee (the Brando footage shot for Superman II was deleted for similar financial reasons, while Lester has said he worked on the Superman films mostly to get money owed to him by the producers from their Musketeers films). 1994:In the mid-90s, there were rumors that Williams was considering retirement (his leadership of the Boston Pops ended in 1993), and he didn't score any new films in 1994. He was originally announced to score Mike Nichols' offbeat werewolf thriller WOLF (which would have made a nice companion piece with Williams's Dracula and The Witches of Eastwick), but Williams ultimately left the project and Ennio Morricone wrote a typically striking score. 1999:Williams was originally announced to score Chris Columbus' megabudget project for 1999, the sci-fi comedy drama BICENTENNIAL MAN, with Robin Williams as a robot fighting for his rights as a sentient being, but the film ended up being scored by James Horner (and was a rare commercial failure for the director). Instead, Williams scored his only (to date) film for director Alan Parker, the underrated adaptation of Frank McCourt's best-selling memoir ANGELA'S ASHES. Muad'Dib, Once, Obi and 7 others 7 3 Link to comment Share on other sites More sharing options...
mrbellamy 6,334 Posted January 24, 2020 Share Posted January 24, 2020 17 minutes ago, E-Wan said: 1980:Around this time, Williams bailed on two particularly infamous flops. Michael Cimino's visually staggering HEAVEN'S GATE had Williams attached at one point (and Morricone was also considered for the project), but Williams wisely departed (leaving The Missouri Breaks as his final Western score to date), and Cimino went in a markedly different direction with the young composer David Mansfield, whose folksy score proved to be one of the film's most popular elements; he went on to score three more features for the controversial director. Certain this was our Johnny? Weird coincidence if so, considering Deer Hunter famously uses a piece performed by the other JW.... Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted January 25, 2020 Author Share Posted January 25, 2020 I remembered the Clash of the Titans, it was similar case to Meteor. Williams was asked, but recommended Laurence Rosenthal for the job. I still want to hear Williams' music for a historical epic film, like Miklós Rozsa did for Ben-Hur. Johnny never composed music for movie like this. It is paradoxical, Rózsa considered him as his successor in composing music for epic films, Williams composed music for another type of epic movies, but there were many opportunities in the early 00's...after the success of the Gladiator. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,489 Posted January 25, 2020 Share Posted January 25, 2020 5 hours ago, Sandor said: Titanic? A seemingly accurate book on the making of Titanic I read years ago did claim that Cameron wanted JW to do it, but he was too busy. Early previews for the movie were temp-tracked with Far and Away music, including the Enya song. Allegedly, Horner really wanted to do Titanic and sweet-talked his way into it. Sandor 1 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted January 25, 2020 Share Posted January 25, 2020 4 hours ago, E-Wan said: Here are extracts from Scott Bettencourt's six-part article called "TIMELINES: JOHN WILLIAMS" which was published on FSM website in 2007: 1974:Williams was originally announced to score Robert Altman's gambling drama, CALIFORNIA SPLIT, which featured his actress wife Barbara Ruick in a supporting role. Ruick died unexpectedly of a cerebral hemorrhage during the filming and Williams left the project, though despite his personal tragedy (which inspired his violin concerto), he kept working. 1976:Around the same time, Williams was announced to score Michael Winner's Satanic horror film THE SENTINEL, but wisely backed out at the last moment -- reportedly due to illness, but probably it was simply good sense, as anyone who has seen Winner's film can attest to. It was the first of many incidents were Williams would back out on a project that turned out to be a disaster. 1979:Williams was also announced to score two science-fiction films that proved to be expensive disasters. QUINTET was a bleak post-apocalyptic drama from Robert Altman, with memorable visuals but little in the way of narrative excitement or emotional involvement. It would have been fascinating to see what Williams could have done with such dark material -- especially since Williams' previous collaborations with Altman were so musically unusual -- but Williams left the project, and the striking score was written by Tom Pierson (who was later the music director for Altman's Popeye). METEOR was a big-budget disaster film with a George Pal flavor, but the troubled project ended up with a lengthy post-production period as the effects were redone (and still came out surprisingly cheap looking). Williams' departure may have been due to the scheduling delays, but it proved to be a commercially wise choice. Laurence Rosenthal's score had some fine passagea, especially his soaring main theme, and, ironically, unlike Dracula and 1941, his score was short-listed for the Oscar (in the last year of the Original Score shortlist) -- it was a rare year that Williams had new scores but no Oscar nominations. 1980:Around this time, Williams bailed on two particularly infamous flops. Michael Cimino's visually staggering HEAVEN'S GATE had Williams attached at one point (and Morricone was also considered for the project), but Williams wisely departed (leaving The Missouri Breaks as his final Western score to date), and Cimino went in a markedly different direction with the young composer David Mansfield, whose folksy score proved to be one of the film's most popular elements; he went on to score three more features for the controversial director. INCHON was an epic about a pivotal battle of the Korean War, financed by Reverend Sun Yung Moon, with Terence Young (From Russia with Love, Wait Until Dark) directing an all-star cast headed by Laurence Olivier as General MacArthur (no, really). The film's U.S. opening was delayed, as major subplots and characters were cut out completely, and it was released very briefly in the fall of 1982 before disappearing completely (as far as I know, it has never been released on video or cable). Jerry Goldsmith ultimately provided the score (which gave him the rare opportunity to write a second theme for MacArthur), a lively work which is practically the only thing about the movie that has survived. Considering how great a part of Superman's success his score was, it was only natural that he'd be invited to score SUPERMAN II, much of which was filmed concurrently with the first Superman (though Richard Lester replaced Richard Donner for the completion of the film), but ultimately the film was scored by Lester's regular composer Ken Thorne, basing virtually his entire score on Williams's themes and cues (effectively if unimaginatively). One of Superman's producers has claimed that Williams met with Lester about scoring the film but had such a negative reaction to the director that he turned the job down. Considering how famously easygoing both Lester and Williams are, this scenario is less than plausible -- it's far more likely that the Superman producers simply didn't want to pay Williams' fee (the Brando footage shot for Superman II was deleted for similar financial reasons, while Lester has said he worked on the Superman films mostly to get money owed to him by the producers from their Musketeers films). 1994:In the mid-90s, there were rumors that Williams was considering retirement (his leadership of the Boston Pops ended in 1993), and he didn't score any new films in 1994. He was originally announced to score Mike Nichols' offbeat werewolf thriller WOLF (which would have made a nice companion piece with Williams's Dracula and The Witches of Eastwick), but Williams ultimately left the project and Ennio Morricone wrote a typically striking score. 1999:Williams was originally announced to score Chris Columbus' megabudget project for 1999, the sci-fi comedy drama BICENTENNIAL MAN, with Robin Williams as a robot fighting for his rights as a sentient being, but the film ended up being scored by James Horner (and was a rare commercial failure for the director). Instead, Williams scored his only (to date) film for director Alan Parker, the underrated adaptation of Frank McCourt's best-selling memoir ANGELA'S ASHES. Absolutely none of these are losses. So I am glad we did not miss out on anything great. 12 minutes ago, Ricardo Mortimer said: I remembered the Clash of the Titans, it was similar case to Meteor. Williams was asked, but recommended Laurence Rosenthal for the job. I still want to hear Williams' music for a historical epic film, like Miklós Rozsa did for Ben-Hur. Johnny never composed music for movie like this. It is paradoxical, Rózsa considered him as his successor in composing music for epic films, Williams composed music for another type of epic movies, but there were many opportunities in the early 00's...after the success of the Gladiator. This indeed is a loss. I do agree I would love to see Williams write an all out sword and sandals score. You just know it will be great. Maybe they think to hire him from the upcoming Cleopatra flm? But no, they will probably get Hans. Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted January 25, 2020 Author Share Posted January 25, 2020 1 minute ago, TheUlyssesian said: This indeed is a loss. I do agree I would love to see Williams write an all out sword and sandals score. You just know it will be great. Maybe they think to hire him from the upcoming Cleopatra flm? But no, they will probably get Hans. I can imagine that music, something like constant The Flag Parade style, you know I thought I will write to him about Cleopatra and fans' wishes. Tydirium 1 Link to comment Share on other sites More sharing options...
Edmilson 7,580 Posted January 25, 2020 Share Posted January 25, 2020 5 hours ago, E-Wan said: Williams was originally announced to score Chris Columbus' megabudget project for 1999, the sci-fi comedy drama BICENTENNIAL MAN, with Robin Williams as a robot fighting for his rights as a sentient being, but the film ended up being scored by James Horner (and was a rare commercial failure for the director). Instead, Williams scored his only (to date) film for director Alan Parker, the underrated adaptation of Frank McCourt's best-selling memoir ANGELA'S ASHES. Why Williams couldn't do Bicentennial Man? Maybe time? That year he had only The Phantom Menace and Angela's Ashes, but he recorded TPM on the beginning of the year, and the article implies that, instead of scoring BM, he scored Angela, but not that he did one because of another. Maybe Columbus was going over the budget, and the studio didn't want to pay Williams' fee. But then again, Horner wasn't exactly cheap, specially since he had won the Oscar on the previous year. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted January 25, 2020 Share Posted January 25, 2020 Heaven's Gate would be my choice out of these. mrbellamy 1 Link to comment Share on other sites More sharing options...
Bayesian 1,367 Posted January 25, 2020 Share Posted January 25, 2020 8 hours ago, E-Wan said: Here are extracts from Scott Bettencourt's six-part article called "TIMELINES: JOHN WILLIAMS" which was published on FSM website in 2007: This was a fascinating read. Any chance you have more you can share from this 6-part article? Edit: I was able to track down the six parts at the Internet Archive Wayback Machine. For those interested, click this link, which should take you to Part 6. You can scroll to the bottom to find links to the previous five parts. Link to comment Share on other sites More sharing options...
Holko 9,593 Posted January 25, 2020 Share Posted January 25, 2020 4 hours ago, Ricardo Mortimer said: I still want to hear Williams' music for a historical epic film, like Miklós Rozsa did for Ben-Hur. Johnny never composed music for movie like this. It is paradoxical, Rózsa considered him as his successor in composing music for epic films, Williams composed music for another type of epic movies, but there were many opportunities in the early 00's...after the success of the Gladiator. Thing is, Williams would do a great Rózsa-esque First Wave Epic, but I'm not sure at all about the new age-ey, wailing woman-y identity the Second Wave Epics carved out for themselves. Link to comment Share on other sites More sharing options...
rough cut 1,715 Posted January 25, 2020 Share Posted January 25, 2020 I am sure he and Spielberg talked about Bridge Of Spies, but that he had to now out due to time constraints. Link to comment Share on other sites More sharing options...
mrbellamy 6,334 Posted January 25, 2020 Share Posted January 25, 2020 As I recall from interviews there was a specific window of like 6 weeks or something in the middle of TFA scoring where he was gonna take a break and write/record Bridge of Spies, Spielberg had worked it out with JJ and everything. That whole break ended up having to be taken up by his infamous pacemaker surgery and recovery. He had been planning to do Ready Player One along with Last Jedi in 2017-18 so I assume scheduling got screwed up when The Post got thrown into the mix. I don’t think there was ever direct confirmation of what happened there but seems the obvious explanation. crumbs 1 Link to comment Share on other sites More sharing options...
Tydirium 1,168 Posted January 25, 2020 Share Posted January 25, 2020 6 hours ago, Ricardo Mortimer said: I remembered the Clash of the Titans, it was similar case to Meteor. Williams was asked, but recommended Laurence Rosenthal for the job. I still want to hear Williams' music for a historical epic film, like Miklós Rozsa did for Ben-Hur. Johnny never composed music for movie like this. It is paradoxical, Rózsa considered him as his successor in composing music for epic films, Williams composed music for another type of epic movies, but there were many opportunities in the early 00's...after the success of the Gladiator. You're right, come to think of it. We never did get a JW score for a movie like that. Nor did we ever get a JW score for a film set in a traditional fantasy world like LOTR or GOT or WARCRAFT. Part of me longs for a John Williams sword & sorcery film score... I suppose SW is close enough for the most part, with all its strange creatures and magic and sword fights; it's just set in a very technologically advanced universe. Which raises another interesting point of, when you think about it, really the only films JW ever did that were not set on Earth or in our galaxy, were the STAR WARS films (and maybe HEARTBEEPS; haven't seen it, so I'm not sure if there's a connection to our world or not). Which I suppose is normal enough for many composers, but still, when you consider JW's extensive output it's funny that the film cycle that will go down as his magnum opus, comprises practically the only films of his which are set in an entirely different world. Link to comment Share on other sites More sharing options...
DrTenma 116 Posted January 25, 2020 Share Posted January 25, 2020 I remember reading (but can't recall where...) that apparently Brian Singer wanted Williams for X-Men, but he refused. Also, for Superman Returns and Williams also turned down that. Link to comment Share on other sites More sharing options...
mrbellamy 6,334 Posted January 25, 2020 Share Posted January 25, 2020 2 hours ago, Tydirium said: You're right, come to think of it. We never did get a JW score for a movie like that. Nor did we ever get a JW score for a film set in a traditional fantasy world like LOTR or GOT or WARCRAFT. Part of me longs for a John Williams sword & sorcery film score... I suppose SW is close enough for the most part, with all its strange creatures and magic and sword fights; it's just set in a very technologically advanced universe. Which raises another interesting point of, when you think about it, really the only films JW ever did that were not set on Earth or in our galaxy, were the STAR WARS films (and maybe HEARTBEEPS; haven't seen it, so I'm not sure if there's a connection to our world or not). Which I suppose is normal enough for many composers, but still, when you consider JW's extensive output it's funny that the film cycle that will go down as his magnum opus, comprises practically the only films of his which are set in an entirely different world. Does Neverland count? Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,676 Posted January 25, 2020 Share Posted January 25, 2020 Short answer: "no". Link to comment Share on other sites More sharing options...
karelm 2,915 Posted January 25, 2020 Share Posted January 25, 2020 Alien. Link to comment Share on other sites More sharing options...
Edmilson 7,580 Posted January 25, 2020 Share Posted January 25, 2020 4 hours ago, DrTenma said: I remember reading (but can't recall where...) that apparently Brian Singer wanted Williams for X-Men, but he refused. Also, for Superman Returns and Williams also turned down that. Yeah, I've read that as well. Which is too bad, I would like to hear a Williams' score for a darker, more serious comic book movie, more than 78 Superman. Link to comment Share on other sites More sharing options...
Alex 2,838 Posted January 25, 2020 Share Posted January 25, 2020 Glad JW doesn’t have an association with Bryan Singer tbh Tydirium 1 Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted January 26, 2020 Author Share Posted January 26, 2020 I have a better question. Why he wasted his precious time composing music for Heartbeeps? I do not understand this. Negative reviews, box-office bomb! He was a fan or friend of Andy Kaufman...or just lucky left him in choosing the project??? Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,489 Posted January 26, 2020 Share Posted January 26, 2020 He must have liked it. Link to comment Share on other sites More sharing options...
Muad'Dib 1,802 Posted January 26, 2020 Share Posted January 26, 2020 Tucker: The Man and His Dream Link to comment Share on other sites More sharing options...
Matt S. 499 Posted January 26, 2020 Share Posted January 26, 2020 According to the liner notes, he did it due to his relationship with producer Michael Phillips, who was also a producer on Close Encounters. Link to comment Share on other sites More sharing options...
Edmilson 7,580 Posted January 26, 2020 Share Posted January 26, 2020 Maybe it was after this movie bombing that he started to become more selective with his movies. "No more shitty movies, never again! Unless Spielberg or Lucas are doing them, in that case I will have no choice". Link to comment Share on other sites More sharing options...
Romão 2,276 Posted January 26, 2020 Share Posted January 26, 2020 I seem to remember reading he was also set to score The Bridges of Madison County Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted January 26, 2020 Share Posted January 26, 2020 33 minutes ago, Romão said: I seem to remember reading he was also set to score The Bridges of Madison County : O JW scoring a Clint film! That would have been divine. Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted January 26, 2020 Author Share Posted January 26, 2020 46 minutes ago, TheUlyssesian said: JW scoring a Clint film! That would have been divine. Any mentions from Clint or John on this collaboration? Link to comment Share on other sites More sharing options...
Tydirium 1,168 Posted January 26, 2020 Share Posted January 26, 2020 1 hour ago, TheUlyssesian said: : O JW scoring a Clint film! That would have been divine. You must have missed THE EIGER SANCTION! Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,489 Posted January 26, 2020 Share Posted January 26, 2020 I fell asleep during it. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted January 26, 2020 Share Posted January 26, 2020 I know it well, but I mean more in Clint's later directing phase - after Unforgiven. Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,489 Posted January 26, 2020 Share Posted January 26, 2020 Better not cut up nor otherwise harm no scores! Or I'll come back and kill every one of you sons o' bitches... Link to comment Share on other sites More sharing options...
publicist 4,643 Posted January 26, 2020 Share Posted January 26, 2020 That's very unlikely. The Eastwood/Niehaus team was set in 1995 and there's no way Clint would've passed on penning his own love theme by that point. It ain't gonna get more mellow than Eiger Sanction, anyway. Link to comment Share on other sites More sharing options...
Holko 9,593 Posted January 26, 2020 Share Posted January 26, 2020 11 hours ago, Edmilson said: Maybe it was after this movie bombing that he started to become more selective with his movies. "No more shitty movies, never again! Unless Spielberg or Lucas are doing them, in that case I will have no choice". Monsignor was a year later Edmilson 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,676 Posted January 26, 2020 Share Posted January 26, 2020 Wasn't there talk of Spielberg wanting Hermann to compose JAWS, and wanting JW to compose POLTERGEIST? Didn't Donner feel that he had an "obligation" towards JG, when it came to SUPERMAN? Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 26, 2020 Share Posted January 26, 2020 22 hours ago, mrbellamy said: Does Neverland count? Speaking of Neverland, there's also the abandoned PETER PAN musical project. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted January 26, 2020 Share Posted January 26, 2020 On 1/25/2020 at 8:07 AM, rough cut said: I am sure he and Spielberg talked about Bridge Of Spies, but that he had to now out due to time constraints. No, its well known now Williams had to bow out because of health reasons. He was scheduled to score BOS. Link to comment Share on other sites More sharing options...
rough cut 1,715 Posted January 26, 2020 Share Posted January 26, 2020 I think both Steven and John had originally planned to work on Bridge Of Spies, health issues aside, and I don’t seem to be the only one... So, unrealized, it is. On 1/25/2020 at 8:48 AM, mrbellamy said: As I recall from interviews there was a specific window of like 6 weeks or something in the middle of TFA scoring where he was gonna take a break and write/record Bridge of Spies, Spielberg had worked it out with JJ and everything. That whole break ended up having to be taken up by his infamous pacemaker surgery and recovery. Link to comment Share on other sites More sharing options...
MikeH 768 Posted January 26, 2020 Share Posted January 26, 2020 John had expressed interest in scoring Powder but had a clause in his contract that he could decline after seeing a rough cut. Goldsmith had no such stipulation, so he could commit without seeing a frame of film which made him a safer choice for the producers. Because John William's representatives explained to me that when John offers to score your film, you agree to the following protocol: You shoot the film, you edit the film and then John views the film with you -with NO temp score or music on the picture at all- and then decides if he will score the film or not. http://pohocounty.blogspot.com/2009/05/jerry-goldsmith-and-powder.html Link to comment Share on other sites More sharing options...
Obi 404 Posted January 26, 2020 Share Posted January 26, 2020 The Holiday Special Link to comment Share on other sites More sharing options...
Fabulin 3,516 Posted January 26, 2020 Share Posted January 26, 2020 . Link to comment Share on other sites More sharing options...
Tydirium 1,168 Posted January 26, 2020 Share Posted January 26, 2020 2 hours ago, MikeH said: John had expressed interest in scoring Powder but had a clause in his contract that he could decline after seeing a rough cut. Goldsmith had no such stipulation, so he could commit without seeing a frame of film which made him a safer choice for the producers. Because John William's representatives explained to me that when John offers to score your film, you agree to the following protocol: You shoot the film, you edit the film and then John views the film with you -with NO temp score or music on the picture at all- and then decides if he will score the film or not. http://pohocounty.blogspot.com/2009/05/jerry-goldsmith-and-powder.html Very interesting post by the director. However the following bit caught my eye: Quote When the film came out and became ridiculed and attacked because of my past, Jerry stood by me as did Roger Birnbaum, stating that regardless of what anyone was saying, "We had made a brilliant film and that nothing could change that." Curious as to what this past was, I took a trip Victor Salva's Wikipedia page and found out: Quote His ongoing career in filmmaking became controversial after his conviction in 1988 for charges relating to his sexual abuse of a 12-year-old male actor who was starring in one of his films, Clownhouse, videotaping himself in the act of doing so, and possessing commercial videotapes and magazines containing child pornography. Link to comment Share on other sites More sharing options...
Thor 7,602 Posted January 26, 2020 Share Posted January 26, 2020 Yes, that controversy is fairly well known. POWDER is still a great film, however. Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now