Jump to content

How much money does JW make?


Recommended Posts

  • Replies 66
  • Created
  • Last Reply

Top Posters In This Topic

Elf made 3 mill on hulk.  I imagine john brings home 1.5 -2 salary per film

Hang on a sec. Elfman making 3 mill on the Hulk and JW only a mere 1.5 - 2 mill per film? Elfman is not THAT great and JW is not THAT bad.

The book "On the Track" (which also had a forward by Williams incidentally) had his salary at $1,000,000 per score. But that was 15 years ago.
Do you have the book? And if yes, could you post the forword here... i always like to read what Williams has to say.

Close guys but sorry. No banana. It is Foreword. I know it's petty but I hate bad spellers. And my problem is that I work with the worst of them

Link to post
Share on other sites
Do you have the book? And if yes, could you post the forword here... i always like to read what Williams has to say.

Close guys but sorry. No banana. It is Foreword. I know it's petty but I hate bad spellers. And my problem is that I work with the worst of them

Not everyones native language is English.

Neil

Link to post
Share on other sites

Do you think salary is dependent on length of the score? Like (I dunno) maybe 10,000 $ per minute of score heard in the film? That would mean JW got the same salary for Saving Private Ryan as for TPM, which seems quite ludicrous. Just a thought.

Oh, by the way, if Alan Silvestri makes 1 mil. on CAST AWAY and Elfman makes 3 mil. on HULK, I could easily imagine JW making 20 mil. on a HARRY POTTER installment.

:mrgreen:ROTFLMAOROTFLMAO

Link to post
Share on other sites
Do you have the book? And if yes, could you post the forword here... i always like to read what Williams has to say.

Close guys but sorry. No banana. It is Foreword. I know it's petty but I hate bad spellers. And my problem is that I work with the worst of them

Not everyones native language is English.

Neil

Point taken. Thanks for reminding me, Neil.

Link to post
Share on other sites

I remember that I've read in some books about filmscoring that money for a score is usually 5% of the whole budget for a movie. That makes $5 million for a $ 100 million budget blockbuster. If this is true or not, one have to remember that a composer if he signed a "package" or "all-in" deal have to pay for the recording (musicians, facilities, technicians, orchestrators etc.).

Link to post
Share on other sites
I remember that I've read in some books about filmscoring that money for a score is usually 5% of the whole budget for a movie. That makes  $5 million for a $ 100 million budget blockbuster. If this is true or not, one have to remember that a composer if he signed a "package"  or "all-in" deal have to pay for the recording (musicians, facilities, technicians, orchestrators etc.).

Well, if it's USUALLY 5% of the whole budget, I have an idea that John Williams gets more . . . perhaps even as much as 10%.

Link to post
Share on other sites
Do you have the book? And if yes, could you post the forword here... i always like to read what Williams has to say.

Close guys but sorry. No banana. It is Foreword. I know it's petty but I hate bad spellers. And my problem is that I work with the worst of them

Not everyones native language is English.

Neil

Point taken. Thanks for reminding me, Neil.

I think Miguel Andrade deserves an apologie. What do you think?

----------------

Alex Cremers

Link to post
Share on other sites
Do you have the book? And if yes, could you post the forword here... i always like to read what Williams has to say.

Close guys but sorry. No banana. It is Foreword. I know it's petty but I hate bad spellers. And my problem is that I work with the worst of them

Not everyones native language is English.

Neil

Point taken. Thanks for reminding me, Neil.

I think Miguel Andrade deserves an apologie. What do you think?

----------------

Alex Cremers

No need for that... I don't like either when I get a bad speller in Portuguese. Now, I do know how to write foreword, only missed a letter. No problem here.

Link to post
Share on other sites

I'm sorry, I will never again try to post in Portugese on your site :D . I always thought you appreciated that. Forgive me, that was wrong of me. I guess "trying" wasn't good enough :oops: . I should've known it would irritate people, even arouse feelings of hatred. What was I thinking! Again, sorry for everything.

----------------

Alex Cremers

Link to post
Share on other sites
I'm sorry, I will never again try to post in Portugese on your site :P . I always thought you appreciated that.   Forgive me, that was wrong of me. I guess "trying" wasn't good enough :oops: . I should've known it would irritate people, even arouse feelings of hatred. What was I thinking! Again, sorry for everything.

----------------

Alex Cremers

Feel free to post on my site whenever you want... :D

I have a problem with bad spellers that are Portuguese and still write and talk in a poor manner, not with bad spellers that do not talk Portuguese. That's natural to happen.

Link to post
Share on other sites

5% would mean Patrick Doyle would be getting $16 or $17 mil for GOF. That's a whole LOT of money.

Wonder how accurate the estimation is? I'm sure it varies highly depending on many various factors that play in. The producers, the name, the project size, the story, etc.

Like...I could see a composer taking less to do an independent film with a small budget if it was a certain story/subject matter he was really keen to score.

I would think movie composers' salaries would work like actors in that, the bigger the name, the more $$$ they cost.

So, JW may be one of the highest paid movie composers...and rightly so. bowdown

Question: How about when there is a rejected score????

There must be a contract clause, that they have to still pay the composer X amount, for all the time spent to write the score. I'm very curious about how that works.

And do they just pay the new composer what they paid the original one? That would make it awfully expensive to reject scores. That would also mean it would be just the bigger budget movies that would be able to do it.

Or do they pay the new composer INSTEAD of the old one? What about the first guy's recording/music prep, etc costs?

It makes me green to think of Gabriel Yared getting shafted for Troy like he did, I mean I really hope he got fairly compensated for all his work, because he sure got unfairly treated.

Link to post
Share on other sites
Elfman, $3 million on Hulk!?!? I seriously doubt that... where does that come from?

It's possible, remember that they rejected the score by another composer and had to find a replacement FAST.

I'm sure that means offering some big bucks to find a A list composer willing to work in a highly stressfull situation for 2 weeks.

I'm sure Goldsmith got a boatload of money for Air Force One, same for Horner when he did Troy.

Link to post
Share on other sites

James Horner made a lot of money on Titanic. And we all know Williams must make more, on average, more.

(I forget how much.)

And I also just the other day got a reply about it - you must be fired to get payed for a rejected score, you walk out and it doesn't quite work the same.

Link to post
Share on other sites

But that was just ONE album. Imagine what JW earned with 5 (so far) Star Wars movies and the 3 Harry Potter installments. Horner had only ONE comparable hit, to wit Titanic. But then again (to give Horner some credit) he's a few years younger than JW.

:)

Link to post
Share on other sites

I agree that Horner got a lot for Titanic, but I have an idea too strong to deny that JW earned even more on TPM. For one thing, SONY paid a small fortune just for the RIGHTS to release the albums, and for another STAR WARS remains, after all, the most successful franchise in movie history . . .

(Plus, there was no Celine Dion to split the royalties with.)

Link to post
Share on other sites
I agree that Horner got a lot for Titanic, but I have an idea too strong to deny that JW earned even more on TPM. For one thing, SONY paid a small fortune just for the RIGHTS to release the albums, and for another STAR WARS remains, after all, the most successful franchise in movie history . . .  

(Plus, there was no Celine Dion to split the royalties with.)

TPM sold well for a soundtrack release, but no were close to Titanic figures.

It's a good possibility that Williams was payed more in advance, but Horner made a lot from album royalties.

Link to post
Share on other sites

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 account

Sign in

Already have an account? Sign in here.

Sign In Now

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.