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Aiwendil · 10-14-2005, 05:21 PM

It's not that uncommon for scores to be rejected, even those of high-profile composers. Goldsmith, Horner, Herrmann, and Waxman are just a few of the more famous names that have been on scores turned down by the director or producers; and Shore has had at least one score rejected already. Often, it's done for legitimate artistic reasons. For example, anyone who listens to Alex North's famous rejected score to 2001 will immediately see that it is not in line with Kubrick's vision. If this rumour is true, it may simply be that Jackson was not happy with the way Shore approached the movie; Jackson may even have been right.

There are of course other cases - when a score is rejected for personal, political, or commercial reasons. This kind of thing is generally very unfortunate for all involved, since it can be seriously detrimental to the movie, can deprive film score fans of a great work, and can damage a composer's career. Famous examples are Herrmann's score for Hitchcock's Torn Curtain and, more recently, Gabriel Yared's score for Troy. Both were great scores (though in the latter case, this is judging only from the few cues that have made their way to the public), and I don't doubt that both movies suffered greatly from their lack.

So if this is true, I think it's wise to reserve judgement on it until more details come out, or the rejected score is made available.

10-14-2005, 05:21 PM	#2
Aiwendil Late Istar Join Date: Mar 2001 Posts: 2,224	It's not that uncommon for scores to be rejected, even those of high-profile composers. Goldsmith, Horner, Herrmann, and Waxman are just a few of the more famous names that have been on scores turned down by the director or producers; and Shore has had at least one score rejected already. Often, it's done for legitimate artistic reasons. For example, anyone who listens to Alex North's famous rejected score to 2001 will immediately see that it is not in line with Kubrick's vision. If this rumour is true, it may simply be that Jackson was not happy with the way Shore approached the movie; Jackson may even have been right. There are of course other cases - when a score is rejected for personal, political, or commercial reasons. This kind of thing is generally very unfortunate for all involved, since it can be seriously detrimental to the movie, can deprive film score fans of a great work, and can damage a composer's career. Famous examples are Herrmann's score for Hitchcock's Torn Curtain and, more recently, Gabriel Yared's score for Troy. Both were great scores (though in the latter case, this is judging only from the few cues that have made their way to the public), and I don't doubt that both movies suffered greatly from their lack. So if this is true, I think it's wise to reserve judgement on it until more details come out, or the rejected score is made available.